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Feiern Sie drei Jahrzehnte eines klanggewordenen Meisterwerks. Ursprünglich 1996 veröffentlicht, gilt DJ Shadows Debütalbum Endtroducing..... bis heute als Meilenstein der elektronischen Musik – als erstes Album überhaupt, das vollständig aus Samples entstand, offiziell verzeichnet im Guinness-Buch der Rekorde. Diese 30th Anniversary Edition ist die ultimative Würdigung eines Albums, das Hip-Hop, elektronische Musik und Produktionskultur für immer verändert hat.

An exciting announcement - The Return Of Cosmic Ritual by Joaquin Joe Claussell.

The Return of Cosmic Ritual

Kanita- Forgiveness is a Beautiful Thing Featuring a Cosmic Tribute to Nujabes

Cosmic Ritual, the early recording alias of Joaquin Joe Claussell, emerged during the formative years of his journey-with at the time the young and visionary Spiritual Life Music label. From those beginnings came For The Loft in You, a composition whose atmospheric language would travel far beyond its original moment-helping shape a sonic vocabulary that continues to resonate throughout the deeper realms of contemporary dance music.

Its influence can still be felt today: in the spaces between rhythm and silence, in the textures of deep house, ambient soul, spiritual jazz, and in productions created by artists who continue to explore the unseen dimensions of sound.

Now, after its long journey through the cosmos, Cosmic Ritual returns.

At the heart of this new chapter is “Kanita (Forgiveness Is a Beautiful Thing)”, a composition that journeys even further inward-toward the more atmospheric, introspective, and soundscape-oriented side of Joaquin Joe Claussell’s musical spirit.

It is music for the inner traveler.

And as another celestial passage, the release also offers a special Cosmic Tribute to Nujabes Titled "Heaven", Nujabes is a deeply admired artist whose work transcended boundaries and whose musical spirit continues to inspire generations across cultures and continents-even after his untimely departure.

This tribute is more than an acknowledgment. It is a meeting of frequencies, a quiet conversation between kindred spirits who understood that music could exist beyond genre, beyond geography, and beyond the limitations of ordinary perception.
And Finally " Myths Across Tribes " A Trance Dance Percussion number that takes the listener into the jungles of Africa.

As with all of Joaquin Joe Claussell’s work, The Return of Cosmic Ritual l invites the listener to go deeper.

For those who seek mind travel.
For those who listen between the notes.
For those drawn toward cosmic ambience, spiritual resonance, and the deeper dimensions of sound.

Duality makes his debut on Up Ya Archives with a single rooted in the foundations of 90s jungle but shaped distinctly by contemporary sound design, epitomising his unique take on modern junglism. Intricate breakbeats and classic jungle textures are anchored by weighty 808s that guide the flow of the track, while influences from footwork, hardcore and drum & bass sets the track firmly into the space of progressive junglism. When asked on the single, Duality said

“R U Mine is the lead single from my latest project, Brainstorm. It balances luscious pads and playful synth lines with relentless drum breaks and 808s. Topped with ethereal vocals, this is one to open a set with or close out the night”.

A rising star in Bristol’s underground dance scene, Duality is staking a claim within the new wave of jungle.

“‘Brainstorm’ is exactly what the name suggests. A glimpse into the ideas that occur in my brain as a producer. Each track is a different element of my jungle inspirations, from raregroove sample-based production to 4x4 rave stabs. Ready and waiting for the dancefloor!”

Aside from his own productions, he also runs Bristol-based record label and events crew Intaception, which has hosted parties across the UK with iconic figures including Source Direct, Tim Reaper, Double O, and many more. Moving fluidly across production, promotion and musical direction, Duality continues to push the sound and culture of contemporary junglism forward.

Possibilities Vol. 1 is a transatlantic collaboration between legendary Brooklyn MC Finsta (of the iconic 90s duo Finsta Bundy) and Finnish boom bap production collective Recluse Crew. This powerful joint effort blends gritty New York lyricism with soulful, sample-heavy beats rooted in classic hip hop tradition. Finsta, known for his sharp delivery and timeless voice, brings raw energy and wisdom earned through decades in the game. Recluse Crew complements his bars with expertly crafted instrumentals that honor the golden era while keeping things fresh for today’s underground heads. Released by the new Finnish record label Mood Monarch, Possibilities Vol. 1 is a must-listen for fans of true school hip hop, offering head-nodding beats, reflective rhymes and a rare synergy between two scenes, New York and Finland, connected through a deep love for the culture.

GodSexy (the best unused track title in Prince’s sadly now dormant Future Titles notebook) throbs and bounces in all the right places. Positively sprightly whilst also oozing depth, it unveils itself layer after beautiful layer. In true Howells style, it sits alone and imperious in a world above and beyond mere genres, sonically cerebral yet simultaneously 100% dancefloor ready. Urgently uplifting, inspirationally intense.

Shut Down is House Heaven meets Danny Does Disco in characteristically off-kilter (and peerless) fashion. Driven by a twisted percussive loop and a seductive vocal sample, aided and abetted by hypnotically funky guitar licks and lush chords that duck and dive like the (original) Artful Dodger, it’s all about the tension between analogue evangelism and digital futurism.

Hotrocks, your bonus vinyl only offering, will have you heading through the door marked ‘Magic Black Plastic’ at a rate of techno-infused knots. This is serious heads down business, a rave monster, Joey Beltram and Patrick Cowley’s mystery lovechild. Blistering, breathless, bounteous, bloomin’ brilliant.

Having reworked stone-cold classics and forgotten gems for the first two instalments in the series, the mysterious B returns for 003 with something truly special: an exotic tapestry of sounds and samples, woven together into something fresh and ready to play at the fashion week afterparties in New York, Paris, London and Milan.

**SELECTED BY... Shy One, Tim Sweeney, Bradley Zero, Alexander Nut, Ruby Savage, KON, Ross Allen, Auntie Flo, Adam Port, Benji B, Jamz Supernova, Kasper Borke, Bill Brewster + More...**

Long overdue reissue of classic Scottish ambient techno banger ‘Mindweeds’, originally released in 1993 on the Pure-affiliated T&B Vinyl label run by Keith McIvor (JD Twitch) and Andy Watson (Brainstorm). With a Discogs demand ratio at about 300 have : 2000 want, and used prices peaking at over £100, now seems to be the right time for a re-release.

State of Flux were Roger Elliott and Dave Clark (aka Sparky, LUMA, Truffle Club and main man behind Kübler-Ross). They first met at Glasgow’s Strathclyde University in 1990, bonding over a shared love of weasel racing, German sausages and “man-duos” like The KLF and The Shamen. Dave was fully pubescent and already had a synth and drum machine, while Roger – a late developer – bought “another cheap synth, a Commodore Amiga for sequencing and a tiny mixer with no EQ”. For two long years they concentrated hard on “churning out unlistenable pish”, admittedly clueless about what they were trying to do.

Then – out of nowhere in the summer of 1992 – a flatmate’s Jello Biafra spoken word CD (‘I Blow Minds For A Living’) provided the inspiration to unlock the spark of dynamite that set the raving world on fire. Sampled using a Walkman* cassette** tape*** on playback (a decision the pair soon came to regret every time the track was subsequently performed live), Jello’s pilfered rant would soon become the crucial glue that held together the burgeoning kaleidoscopic helicopter spliff that is ‘Mindweeds’, loaded as it was – and indeed still is – with a veritably seething morass of cheeky electronic blims, nasal filter cheese and gay Caledonian spunk.

* a vintage portable listening device roughly the size of 4 iPhones stacked on top of one another and weighing the same as a small tub of yoghurt

** a plastic cartridge enclosing 2 miniature spools of magnetically coated, polyester-type plastic film (magnetic tape), notoriously convenient for pirating copyright material and secreting in one’s underpants for transporting between illicit market trader stalls

*** thin ribbon coated with ferromagnetic particles, usually ferric oxide but also chromium dioxide, "pseudochrome" ferricobalt or iron-cobalt-nickel “metal” formulations – with the latter types sounding marginally less crap

Playing demos of the track to friends, one thing led to another and a copy arrived with Twitch. Meeting the legends behind Pure in late 1992, a release was scheduled for summer 1993… but not before a promotional live gig in February of that year, supporting their heroes The Black Dog. Confessing that they “didn’t have a clue how to play live”, the duo played it safe, “went to a studio near Edinburgh airport to record the ‘live’ show” and then “mimed it off a DAT” at the gig, “standing in front of unplugged synths”. Soon after this, they recorded the full EP at Finitribe’s ‘Finiflex’ studio in Leith, Edinburgh and the record came out as planned that summer – the same week as Underworld’s ‘Rez’.

The record received high praise, appeared in many big-name DJ charts, sold out very quickly and was repressed within a few weeks, selling several thousand copies by the end of 1993 – no mean feat in an era when people had to use landline phones ****, faxes ***** or good old-fashioned carrier pigeons ****** to ascertain literally anything about the outside world, what was cool, where to buy the cool shit, or how to meet people and have fun.

**** a fixed communication device that connects to a telephone network using physical wires, cables, or a stationary base unit tied to a specific geographic address, using a handset incorporating a mouthpiece featuring a small metal disk and carbon grains, converting sound pressure from the human voice into a flow of electrical waves caused by these grains being squeezed together, before the variable signal is transmitted down DC voltage-powered copper wire and rerouted by a central exchange to arrive at the earpiece magnet of the target receiver’s handset, moving a small speaker cone accordingly so the message is intelligible WITHOUT THE PERSON SPEAKING ACTUALLY BEING PRESENT

***** as above, but for the d/Deaf

****** flying vermin riddled with diseases and capable of surviving nuclear armageddon

Soon Roger and Dave became sick of the Walkman being the only instrument played live in their set: with their new found fame and riches, they invested in a case for their Amiga to transport it around Scotland, while also putting in the hours on how to pretend to play live better with a sequencer and synths that were FINALLY plugged in. Following the release of ‘The Mercury EP' in April 1994, they embarked on a full tour of the UK and even managed to part ways and end the band by June that year.

This reissue includes the two original mixes of ‘Mindweeds’ recorded at Finiflex (‘Original’ and engineer ‘Fred's Fancy’), the original cassette demo (mastered directly from the actual recording sent to Twitch & Brainstorm in 1992) and a live version recorded at the Birmingham club night 'Oscillate' in April 1994.

Jasmín returns to fabric Originals with the second instalment in her four-part series, Concrete Summer / Skeletal.

Following her debut release It’s Girls Night / Long Hair, the Dutch-Argentinian producer delivers two stripped-back, percussive techno cuts shaped by the architecture, tension and atmosphere of cities after dark.

Concrete Summer opens with a primordial pulse: saturated drums and feverish shaker rhythms lock into a raw, hypnotic groove. On the flip, Skeletal pushes deeper into the night, pairing a driving kick and syncopated percussion with distorted drones and mounting pressure.

Sparse, physical and deeply immersive, both tracks leave space for the dancer to complete the picture, continuing Jasmín’s singular exploration of stripped-back techno and the nocturnal worlds at the heart of her ongoing collaboration with fabric.

Palms Trax returns to production with his first release since 2019. The first single off his upcoming 2 track EP 'Soft Trance, Hard Gossip' is a journey through bold basslines, ear tingling acid lines and hopeful synth lines. It feels measured in its temperament for a listen on the bus home whilst punchy enough to earn its place across festival and club sets this summer. The title track Keys To A Printed Garden captures him at his best, moving deeper into a lush, melodic setting that stretches beyond the dancefloor while never fully leaving it behind. The track is built around warm deep house grooves, hazy nu groove textures and subtle IDM notes. The record unravels with a dreamlike smoothness. Swirling synth work, jazz-inspired saxophone lines and soft lo-fi textures give the record an immersive, almost weightless quality, while moments of glitch and ambient drift push it into more experimental territory. Even at its most reflective, steady percussion and rolling grooves maintain a subtle club-rooted pulse, balancing emotional depth, introspection and atmosphere with movement, rhythm and understated precision.

,Memoria", das neueste Album von Carmen Villain auf Smalltown Supersound, beginnt wie ein geöffnetes Ventil; ausatmende Flötenakkorde füllen langsam eine weite Klanglandschaft und laden den Zuhörer dazu ein, das Tempo zu drosseln und in einen Zustand des tiefen Zuhörens einzutreten. Es ist eine Einleitung, die gekonnt in ein Album aus verlangsamten, spektralen Dub-Klängen führt, die schimmern, knurren und über die narrativ geordneten sieben Titel hinweg ausklingen. In dieser Hinsicht knüpft ,Memoria" dort an, wo Villain mit ihrem 2022 erschienenen Album ,Only Love from Now On" aufgehört hatte, auch wenn der Schwerpunkt des aktuellen Albums auf Klang als Erinnerung liegt - und auf Erinnerungen als sich wandelnde, nicht statische Unvollkommenheiten. Wiederholung fungiert als neu erzählte Erinnerung; die Bearbeitung zersetzt und formt den Klang neu, und Abstraktion ermöglicht eine Art Freiheit von Linearität. Inspiriert von Pauline Oliveros' Schriften über innerlich abrufbare Klänge, die für andere unhörbar sind, sowie von Apichatpong Weerasethakuls Film ,Memoria" aus dem Jahr 2021, betrachtet Villain die Erinnerung sowohl als kognitive Fähigkeit als auch als Form der Komposition und formt Samples aus ihrem eigenen Archiv zu einer kosmischen Selbstbeobachtung - wenn auch zu einer, die das Gegenteil von Solipsismus ist. Der nach innen gerichtete Blick des Albums lässt sich vom tiefen Zuhören als Form der Empathie inspirieren, das uns gleichzeitig mit uns selbst und unserer Umgebung verbindet. Die Arbeit der letzten Jahre an Kompositionen für zeitgenössischen Tanz und Installationen - darunter Kooperationen mit der Choreografin Eszter Salamon und ein Aufenthalt am IRCAM, bei dem sie erstmals ambisonische Räumlichmachung erforschte - prägt ebenfalls die verstärkte Aufmerksamkeit, die ,Memoria" dem Klang als physischem Raum und immersiver Umgebung widmet. Ein Großteil von ,Memoria" basiert auf einer Kombination aus neuen Aufnahmen und älterem Archivmaterial: Aufnahmesessions mit der häufigen Mitwirkenden Johanna Orellana (Flöten) sowie Eivind Lonning (Trompete) werden neben Villains eigenen Klarinettenaufnahmen zerlegt und zu einer dichten, aber luftigen Sample-Bank neu zusammengesetzt. Die viszerale menschliche Präsenz (Atem, Wind, die Körperlichkeit der Luft, die durch Instrumente strömt) und harmonische Stränge des Free Jazz treten durch mehrere Bearbeitungsschichten hindurch zutage, als hörte man sie aus der Ferne - oder durch die Zeit hindurch. Rhythmen und Texturen lösen sich auf. Der Klang erodiert. Erinnerungen werden neu gestaltet. Und Melodien sind, anders als auf Villains früheren Veröffentlichungen, weniger deutlich und weichen anderen musikalischen Leitmotiven. Es lässt sich eine Tradition zurückverfolgen, die zu Rhythm & Sound, Clicks-and-Cuts, Pharoah Sanders, Jon Hassell, Actress und Ricardo Villalobos führt - wenn auch oft in abstrakten Formen: Kleine Klänge werden groß, während große in einen feinkörnigen Rhythmus zurücktreten. Minimalismus ist der Schlüssel, um die Details wahrzunehmen: knisternde Elektronik, Einatmen und Seufzer hallen in weiten Räumen nach und ruhen auf einem Fundament aus Rhythmus. Diese Zurückhaltung unterstreicht Villains Neigung, Klänge und ihre geisterhaften Klanggedächtnis-Doppelgänger nach Frequenzen chirurgisch voneinander zu trennen. Paradoxerweise lässt sich jedes Artefakt als Annäherung an eine Erinnerung mit äußerster Präzision hören. Für Villain scheint die Erinnerung im Klang bequem hinter dem Mischpult eines Dub-Labors Platz zu nehmen und dort gekonnt und unvorhersehbar Lautstärken, Texturen, Filter und alle anderen Parameter - bekannte wie unbekannte - in einer sich ständig wandelnden Erinnerung zu steuern.

'Everyone' was Recorded in Tokyo, Japan over two days in late September 2025. The album musically chronicles Greg Foat's first tour of Japan. The album was commisioned by Tokyo based clothing Label 'Everyone' and is a fantastic mix of Ambient, Jazz and Electronic music genres

Each track celebrates a special memory of the tour, from the opener 'Shirahama Beach' home to the wonderful FFKT festival to the playful 'Lake Haruna Boat Ride'.

The album also features Tokyo based jazz musicians Kensuke Miyaki on Baritone Saxophone and Bass Clarinet and Yoshihiro Kaneko on Double Bass. Limited to 700 vinyl copies only with obi strip.

Nonclassical are proud to release Nneka Cummins’ Ivor Classical Award-winning finding gills (when they try to drown you), pairing the original orchestral work with its remix, finding gills realms and possibilities.

Originally commissioned and composed during Nneka’s time on nonclassical’s Artist in Residence programme and premiered by Sinfonia Smith Square in 2025, the work marks their first large-scale exploration of fixed electronics alongside chamber orchestra. Built entirely from its source material, the remix dissolves the perceived sacredness and permanence of orchestral music, stretching, warping and reassembling its fragments into a fluid electronic form.

Drawing on fragments of earlier compositions, Finding Gills embodies both destruction and creation, embracing the spirit of metamorphosis. Inviting the listener to sit in moments of dissonant discomfort and distress, an emerging sense of hope gradually reveals itself through radiant strings and spiralling melodies. Hinting at a sense of tiredness that is continually renewed, sparks of new life blossom within a shifting orchestral landscape where memory, experimentation and survival coexist.

The title alludes to the Afrofuturist mythology of Drexciya, imagined by Detroit duo James Stinson and Gerald Donald, in which the descendants of pregnant African women who were thrown overboard during the transatlantic slave trade adapted to breathe underwater, creating a new civilisation beneath the sea. Nneka draws on this subtle reference as they are inspired by the deep creative alchemy of transforming horror into vibrant and powerful myth.

As Brice shares, "Anybody can see a sunset, but a sunrise, you gotta earn. Whether you're waking up or just pulled an all-nighter, I tip my hat to you, sunriser." Brice's sixth studio album delivers hopeful and resilient reflections on love, faith, and heartbreak for all sunrisers - from firefighters, nurses, and truck drivers, to blue- collar workers clocking out of graveyard shifts, to tired parents waking up to take care of little ones. Through the lens of what defines who he is -- God, country, and family -- the awardwinning Country star encourages listeners to keep rising.

Written in collaboration with British jazz pianist and organist Kit Downes, the album was recorded in the hushed, reverberant atmosphere of Bragernes Kirke in Norway in November 2024 - a setting that lends the record an intimate, almost sacred stillness. The album was mixed and mastered by Jorgen Traeen. The album takes its title from the landmark 14th- century mystical text by Julian of Norwich - the first book known to have been written in English by a woman. Sundfor encountered Julian's writing around the same time she and Downes were performing together in churches in 2024, and the timing felt fated. Drawn to the text's extraordinary themes of hope, resilience, and its quietly radical feminine perspective, she found in Julian's words a natural spiritual and artistic continuation from her acclaimed 2023 album Blomi . The connection felt so immediate and profound that she invited Downes to join her as a full collaborator on the project.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash- based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/ thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dodheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dodheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, Ruim. Originally released in 2012, 'Out To Die' was the band's fifth full length release, & a continuation of the savage raw & ugly feast offered by its predecessors, containing eight relentless tracks in praise of the old thrash masters & early primal black metal forefathers of the 80's. 'Out To Die' features additional guest lyrics by Dirge Rep (Gehenna/Enslaved), & Fenriz, whilst the fittingly underground cover art was created by the prolific artist, Costin Chioreanu.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

Presented here is the complete 1962 album Evidence, Steve Lacy's fourth album as a leader. It presents him in a piano-less quartet with Don Cherry on trumpet, Carl Brown on bass, and Billy Higgins on drums. The repertoire consists exclusively of compositions by Lacy's heroes, Thelonious Monk and Duke Ellington. Includes the bonus tracks 'Day Dream' and 'Ask me Now'. "This album has a great deal to recommend it. Lacy's dry tone provides a nice contrast to Cherry's richer trumpet sound. The improvising is first rate." - ***** Harvey Pekar, DownBeat

Out There was Eric Dolphy's second LP as a leader, taped in 1960 the same year he recorded his debut LP, Outward Bound - both for Prestige Records. Although these were his first recordings as a leader, Dolphy was already a veteran performer with considerable recording experience. He had formed part of drummer Roy Porter's orchestra during 1948-1950 (with whom he waxed his first sides), and in 1949 he made his first recording with Charles Mingus, who would serve as his employer and mentor for many years. The instrumentation used on Out There is quite unusual, with Eric Dolphy playing in a quartet format with Ron Carter on cello, George Duvivier on bass, and Roy Haynes on drums.

The year 1956 when Tenor Conclave was recorded represented a transitional period in the musical career of John Coltrane . He had first joined the Miles Davis Quintet in 1955 and would form his own celebrated quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones in 1960. What we have here with Tenor Conclave is Coltrane in equal collaboration with four other giants of the tenor saxophone, Hank Mobly, Al Cohn, and Zoot Sims. Presenting the four players together under the group name of Tenor Conclave was an imaginative A&R idea by Prestige, but because of Coltrane's growing fame and the obvious marketing opportunities it presented, later pressing had Coltrane as the headline name on the cover, and Tenor Conclave as the album title. Includes the bonus track 'Polka Dots & Moonbeams'.

»Baby Ghost« is the debut album by double bassist and vocalist Jordan Sand. Released through Hallow Ground, it blurs the lines between different genres and modes of expressions, improvisation and composition and showcases the unique playing style the composer has developed. Sand blends her voice with the bowed harmonics and subharmonics of her double bass. At once conceptually rigorous and musically open-ended, Sand’s wordless meditations on death and what comes after are both visceral and explorative.

Sand is a boundary-crossing instrumentalist, performer, and session musician who has worked in folk, free jazz, pop, classical and new as well as experimental music. In 2020, she took a hiatus. When she picked up the bass again, she began stripping down the relationship to her instrument to its core elements, searching for a way to melt the sounds of bow and voice together. This resulted in the appearance of ghost notes, tones emerging from the addition or subtraction of two frequencies, and harmonics that she adds with her falsetto.

On »Baby Ghost,« Sand utilises this acoustic sound and the spontaneous precision of her improvisational practice for pieces that deal with the subject of dying. They move from more polyphonic improvisations toward abstraction, touching upon harsh noise and minimalistic bow-chants before returning briefly to a melodic soliloquy, and finally landing on an extended subharmonic drone. This progression reflects the journey of the spirit after death; the experience of visions, memories, ecstasies and terrors before the dissolution of the self.

Sand performs this process physically, blending her voice with her instrument to explore how the senses might dissolve and merge when they enter a state between life and beyond-or-between-life. Born out of the moment and dedicated to a lost friend, »Baby Ghost« is quite literally an otherworldly achievement.

FIRST TIME ON VINYL! “Instalação Do Samba”, originally released in 2004, has become one of the defining albums in the history of Schema Records. With producer Stefano “S-Tone Inc.” Tirone, Toco created an album that embraced the essence of samba and bossa nova while allowing them to breathe naturally within a contemporary musical landscape, blending Jazz, soul, understated electronics and sophisticated arrangements. Released only on CD at the time, “Instalação Do Samba” is finally given the analogue home it always deserved. This first-ever vinyl edition also includes “Qui C’Est Celui-Là”, previously included in the French CD edition. Over the years, Toco has become the most streamed artist in the entire Schema catalogue, introducing his music to audiences beyond the traditional boundaries of Brazilian jazz and contemporary bossa nova. His songs continue to resonate with listeners around the world, proving that authenticity never goes out of style.

Two House edits of two classics made by a well known German producer

BLACK VINYL -> Rare acid techno beauty !! Only a couple of copies available. Import from UK from the label of Chris Liberator !!

Led by Samantha Martin's unmistakable powerhouse voice, Samantha Martin & Delta Sugar deliver an explosive blend of soul, blues, gospel and rock 'n' roll Backed by an 11-piece band featuring a three-piece horn section and soaring vocal harmonies, Martin commands the stage with equal parts grit, grace and emotional force. Two-time JUNO Award nominees and internationally recognized as one of Canada's most compelling live acts, the band has built its reputation through electrifying performances and a catalogue that carries the classic soul DNA of Mavis Staples, Sharon Jones and Otis Redding, delivered with the urgency, volume and energy of a modern rock 'n' roll revue. Released in May 2026, A Beautiful Buzz captures Samantha Martin & Delta Sugar at full flight during the Love Is All Around tour. The album generated immediate international attention, topping the Euro Americana, Big Blues and UK Independent Blues Broadcasters Association and Roots Music Report charts. Rolling Stone France Editor in Chief selected A Beautiful Buzz as one of its "10 Albums to Listen to, "With blazing horns, gospel- charged harmonies and Martin's commanding voice at the centre, A Beautiful Buzz recalls the joyful abandon of Joe Cocker's Mad Dogs & Englishmen while remaining unmistakably their own. Blue Matters described it as "the front row experience, bottled with warmth, fire and unmistakable soul," while Blues in Britain placed Martin "up there with the best of contemporary female vocalists." Building on the album's international momentum, Samantha Martin & Delta Sugar will bring their show to Europe and the UK in May 2027, followed by a second run in November.

Hector Ram and Ricky Ramirez are starting to celebrate ten years of Short Attention Records and it's US house stalwart DJ Aakmael they've enlisted to pop the champagne cork and cut the cake. He's one of those artists who turns out plenty of music, much of it sounding within the same consistent deep house framework. But there's always a little something to his tunes that keeps you coming back for more - a perfectly chosen sample, a nagging bassline, a sense of melancholy that you cannot escape. All of that is true on his latest. 'Things Always Happen' has keys that convey beautiful pain, then 'If You Believe' is a deep house haze with smudgy samples and blues-y ache. 'Free' is more light with trilling jazz-funk keys and earthy guitar frets sprinkled into the mix. 'Stopmotion' shuts down with a signature Aakmael bump. Just timeless stuff.

Love is not soft.
It was never meant to be. It sweats, it pulses, it burns through skin.
It lives in the space between bodies. In friction, in tension, in heat that doesn’t ask for permission. LOVE AS A PHYSICAL FORCE is not about romance as an idea, but as an experience.
Something you feel at 5AM, when the night has already taken everything from you, and still asks for more. Across four tracks, DJ Hermano moves between intimacy and impact.
From the longing of Vem pro meu amor to the rupture of No encontrarte nunca mas, love reveals itself as contradiction:

tender and aggressive, distant and consuming. The collaboration with Cuerpos brings a raw edge. Where visceral collides with desire.
Voices don’t just sing; they confront, they provoke, they touch. On the B-side, the body takes over.

Friction Lovers and Desire and Heatwave at 5AM dissolve the emotional into the physical.

Where connection happens through movement, sweat, repetition. This is not love you write about.
This is love you survive. A record for the late-night moments, between the club and sleep.
For the moments where the line between pleasure and exhaustion disappears.
For when desire becomes the only language left. Love, here, is not a promise.
It’s a force.

*Import Exclusive*

Discover the world of Swiss artist Dominique Savioz. An anthology of self-released rarities, made between 1984 and 1997, that blend funk, synth-pop, and balearic vibes.

Limited pressing, comes with insert - carefully remastered, fully licensed, and including previously unreleased tracks.

A1, A3 Originally released on Jambo and Evasion Disques « Jambo » (EB 100 129)
A2 - Originally released on Dominique Savioz’s record «Intime»
A4 - Originally released on Dominique Savioz’s record «Nous sommes du soleil»
B1, B2, B3 - Previously unreleased

Nicola Conte & Gianluca Petrella’s 2021 brilliant collaborative jazz dance album People Need People channelled a vision of togetherness and used the universal language of music to elevate our spirit during these trying times. This vision can’t be more relevant today and the album’s legacy is kept alive with the same spirit of collaboration that distinguished the project.

“Inner Light” - featuring Raashan Ahmad on vocals - is the first song from the album chosen for a series of reinterpretations of the project that will be released throughout 2022. Joaquin Joe Claussell needs no introduction, the Body & Soul founder and Sacred Rhythm label honcho is a true legend and purveyor of spirituality – a cosmic messenger that brings us two versions of “Inner Light”; his work here is not to be solely intended as a remix but, as the title suggests, delivers two new proper versions of the original song.

This EP is the first in a trilogy of 12” releases that will also feature further reinterpretations of tracks taken from the “People Need People” album, by none less than Anthony Nicholson, DJ Spinna and Tall Black Guy!

ATA00BS will be released in a Number Stamped Edition, with Full Cover Art made by Pepe and will be Sealed / Shrinkwrapped.

'Keep it simple' 103636;"Reissue- Tracklist A1. Unknown A2. Pain Is Full B1. Damaged Memory B2. Damaged Memory ( Iori Remix ) Shortinfo: Roberto Bosco has selected Kiny's music to better prepare his first 12, consisting of four tracks, named 'Damaged Memory'.The track Unknown (A1) leads off the dance of the release on Last Drop Records imprint. It's a proper exploration in an unknown sonic territory to most of the people, and also a difficult element to make out for those who are novice to the visonary component in the musical poetic of Kiny. The track starts with rounds of recurring sirens, almost deafening, framed by dark and ghostly noises. Something not easily identifiable, ambiguous and unknown, as the title itself says, is perceptible in its sound. All this helps to shape a bad presage that fades away into the mystery. On the same side we find Pain Is Full (A2) that, according to the producer, was born in a moment of pain which can be overcome only by fighting. In fact, the track is characterized by a more combative and insistent tone, made up by the sound of snare and tom entering since the start and determining an atmosphere of contrast able to shake the listener until the end. Shouts of encouragement suggest an initiation rite in which there is struggle for survival. The titletrack, Damaged Memory (B1) has more quiet register with less ghostly vocals, perceived at times, unlike the previous tracks. The sounds have a vanished effect, such as when you create a halo on a white sheet with the dust of a pencil just sharpened. You will hear a sort of democracy among the sounds held together by the voice, a metaphor of a damaged memory, as the title itself recite, that always makes the same process till the end: it commences by recalling but then forgets. Last, is the version of the producer Iori, Damaged Memory (B2), on the same side.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

On Chuck Strangers’ latest opus, Glory Of The King’s Hand, he raps, “I still rap from the perspective of my government name…” The stage name “Chuck Strangers” is, of course, an alias but it’s not necessarily an alter ego. For the man born Che Jessamy, his rap moniker isn’t some over-the-top rock star persona contrived for public consumption, it’s just a name. What you hear on his records is really who he is - a heavy-tongued griot from East Flatbush, Brooklyn with a gift for vivid stream-of-consciousness storytelling. His bars are imbued with the wisdom he’s gained in his lifetime - especially in the 14 years since he first made his debut with the Pro Era collective.


The elaborate title of his new album, Glory Of The King’s Hand, speaks to his gratitude for the hand that life’s dealt him, which is a pretty good one. At age 34, he does what he loves professionally and does it on his own terms. That’s something to be thankful for.


Glory Of The King’s Hand, not only represents Chuck’s matured attiGlory attitude but also his matured sound. Key to this refined approach was tude collaboration. Chuck is a proficient beatmaker in his own right as evidenced by his production for himself and artists like Joey Baevidenced Badass, and Boldy James. But this time around Chuck chose to be a dass, producer in the Quincy Jones sense of the word, bringing together vocalists, producers, and musicians instead of handling all of the beats and rhymes himself. d Up Reprise


The list of contributing producers is a who’s who of underground sound scientists including The Alchemist, Animoss, Theravada, Kensound Kenny Segal, Preservation, Child Actor, and Morriarchi.

Expanding on his signature cinematic canvas, the EP solidifies the immersive, spiritual space Common Saints occupies in the contemporary landscape, a distinct sound with trademark intricate studio arrangements.

Following the structural foundation laid by the project's breakout singles "Night Light" and the title track "Illusions", the full EP stands as a striking philosophical assessment of the modern human condition. Age Of Illusions serves as an artistic reflection of cultural anxieties surrounding hyper-technological advancement, guiding the listener through a deliberate sonic architecture of self- discovery, spiritual rebirth, and final enlightenment.

Veerus & Mattia Saviolo bring their A-game for the brilliant ‘Move Your Body’. The Italian compatriots aren’t new faces to Drumcode. Veerus has earned his stripes via five fantastic EP over an eight-year period, highlighted by ‘Hypnosis’, ‘System’ and ‘Cycle’. Meanwhile Mattia Saviolo is a recent debutant dropping the excellent ‘Parallel Dimension’ on A-Sides Vol.10. When Veerus suggested a collaboration to Mattia, he didn’t mince his words. “Yes, but it has to be a bomb!” Over two days the pair locked in to build an outstanding peak-time production from the ground up. “We started completely from scratch, with no ideas prepared in advance and no project exchanges before meeting. In just two days the track was finished and everything happened very naturally. We both brought our own vision into the process without stepping on each other’s toes, which made the collaboration feel effortless from start to finish,” Veerus shares. ‘Move Your Body’ has a distinct charismatic appeal not commonly found in techno tracks, highlighted by a stomping riff throughout and tension-filled break, before it turns into a pumping cut in the final stanza. A straight-up belter! Accompanying it is a captivating solo track from Mattia, ‘Mindframe’. An absolute gem, file under futuristic techno that sounds like no other.

Mining the rich seam between transcendental escapism and crushing physical pressure, Sciama delivers his first album for Samurai Music. Exploring an energetic pitch between half-time and full-tilt 170, the London-based producer sculpts brooding soundscapes of sheer peaks and deep pits, driven by unrelenting but light-footed forward motion and an imposing strain of sound design. As Sciama, Michael Watters has been marking out his exacting sound since 2019 with an assured run of albums on ASC's Auxiliary label. His second EP for Samurai — the Wave Interaction 12" released earlier this year — pointed to his current area of focus inspired by the teachings of electronic music pioneer Daphne Oram. Contemplating the relationship between precise electronic frequencies and human perception, Celetal Form now delivers the full findings of his exploration. Oram coined the term 'celetal' in her 1972 book An Individual Note of Music, Sound and Electronics, trying to sum up a connection between the celestial and electrical. It's this spiritual dimension contained within sound waves Watters is concerned with, and the shape of the music on Celetal Form follows suit. In an opening statement of abyssal ambience, 'Overload Into Silence' establishes an atmosphere that endures throughout the album. Caught between steely textures, vaporous reverb tails and subtle harmonic interactions, the glacial shift of the many layers under Watters' control reveals an intense amount of detail at play even before drums and bass come into play. From there on in, the intensity ramps up from one heavyweight stepper to the next. There is agile, brittle top-end percussion at work on the likes of 'Induced Resonance' and 'Consuming Pulse', perhaps the most closely connected to D&B, while 'Rational Echoes' and 'Scanning Waveband' deal in urgency and techno-coded tension. A half-time roll guides the huge kick drum undulations of 'No Panacea', and 'Celetal Emergence' opens up into more spacious surroundings to let the subtle microtonal inflections of the synth tones set a curious mood. The two 'Intermodulation' tracks bring Watters' exacting approach into sharp focus, pushing the drums back and foregrounding alien frequencies that coalesce into unfamiliar yet strangely uplifting forms. Throughout Celetal Form this uncanny sensation charges the music with a power that reaches beyond its immediate, surface level impact. This intentional reflection on Oram's visionary thinking charges the current sound of Sciama with energetic intrigue that stands apart and invites a mindful, maybe even spiritual, engagement.

Argentinian artist Juan Hansen presents his debut album 'Ultrasonido'; twelve tracks spanning indie dance, tech house, and soft melodic house, released on his own newly founded label Ultrasonido, with the second single 'Inside My Mind' coming out via belonging by Innellea.

After his breakthrough Boiler Room appearance in 2019, Juan has been on a relentless quest to push the boundaries, playing major stages around the globe, becoming one of the figureheads of the Argentinian electronic music world. As an exceptional live artist, multi-instrumentalist and vocalist, Juan brings a real sense of groove to the stage, merging two worlds effortlessly: deeply emotional songwriting and direct, dancefloor-focused club tracks. 'Ultrasonido' brings both sides together. The album is a clear evolution of Juan Hansen, presenting a wider range of his sound, which he also presents in his live performances. A journey through the musical world of Juan Hansen.

Across twelve tracks, with contributions from Clér Letiv, Santi Portillo, Franco BA, Rocio Giorgi, Miko Franconi, Brigado Crew and Marley Waters, Juan shifts between club-focused tracks and more intimate, song-driven moments, moving naturally between Spanish and English. It’s a debut album that captures both his roots and the direction he’s evolving toward.

Juan Hansen's story doesn't start on the dancefloor, it starts with acoustic instruments. He built his foundation in the indie and rock scenes of Argentina before crossing into electronic music, a journey that's still audible in every track he makes. After years of building his profile with live performances, mesmerizing audiences from Cosquín Rock and Ultra in Argentina to Watergate in Berlin, Burning Man in the Nevada desert, and Grand Factory in Beirut.

His search is real and visceral; a search for the different, mixing genres without prejudice, with a seriously playful attitude. Positioned within a new generation of artists dedicated to improvising on stage, Juan fuses electronic sounds with analog instruments and organic soundscapes. There's no genre cage. 'Ultrasonido' is his debut album and the launch of his own label, also named Ultrasonido. A long-form statement after years of singles, EPs, and shows around the globe.

DJ Support: Harvey, Balearic Mike, K Andrews, Apiento, Joe Morris, Idjuts, Piers Harrision, Flo Dill, James Holroyd, Andy Wilson, Kenneth Bager, Phil Mison, Colleen Murphy.

Following the success of the Lovehandles ‘Reworks’ EP, Oswego Music returns with a second volume of reinterpretations via the mysterious ‘Love from the Archipelago’ the alter ego of a renowned European digger, dj and producer.

First up here ‘Endless Ocean’ sees our island hopping hero reimagining an underrated antipodean 80’s track. Its pulsing synths and wistful vocal working as equally on a dancefloor as at the after party, or indeed the morning after the night before.

Track Two on side A ‘Carica’ takes us to South America recalling to some extent the west coast fusion of mid eighties artists like Pat Metheny. Brilliant percussion, vocals and synths combining into a heady, hazy workout- permed hair and tiny shorts optional.

First on the flip ‘En Route’ continues our journey (via the local library) with a gritty, synth heavy piece of post disco experimentalism extended here for your listening pleasure

Lastly, ‘A Grain of Sand’ reinterprets a folky aor number- long overdue in making it to vinyl- remaining (until now) a favourite digital secret weapon for the more ‘horizontally inclined’ dj.

Rounding out the EP, 1900-Isla provides a brief meditation on what it is to be free. A beautiful island in the middle of nowhere, with friends, as the sun sets…

For ten years Spike Fuck has existed more as a messy myth than an art- ist; sporadic works forever poised on the precipice of triumph, rumours of death or insanity and so on. Spike’s mission is to distill the sacred and profane, balancing the melancholy and humour of life; “to be alive is to be traumatised.” Luckily, the devotion to his music persevered, some- what bolstered by his inconsistency and inaccessibility. This inexplicable goodwill towards his artistry is perhaps partly due to Spike’s timeless, pained and confessional lyricism, though more pointedly, the fragility of a life mired in addiction. His being or works does not question the virtue of life, but simply addresses the numb, pragmatic and far more immediate matter of surviving another day, an almost ineffable senti- ment only justified by his distinct, poetic audaciousness. Free from his arresting thoughts, evidence, the long anticipated debut album, is a bra- zen proof of life statement. Convicted by the outlandish idea of evidenc- ing a ‘you had to be there’ mentality, the record honours the presence in body, a record to be felt, never to be rationalized.

The material on evidence touches on elements of new wave, glam, soul and doo-wop, citing Pere Ubu, New York Dolls, The Temptations and Bettye Swan as key influences. Melodically it emits the energy of a down- and-out CBGBs band who cashes in by recording a lucrative Christmas album.

Spike frequently uses sonic and lyrical juxtapositions to perform comic twists of sincerity, a reflection of society's obsession with ‘getting a rise’. On “Bored to Death,” a scuzzy, laidback and soulful tune, paired with morbid ragebait lyrics that payoff as a stand up joke “when I look up at the sun it makes me so happy cause I know one day it’s gonna kill me, and it’ll kill you too!” Lead single “All By Myself” carries on in this fashion; with feelgood, family-friendly punk doo-wop production, Spike is misleading on if his joy comes from the pride in solitude, or from lone- liness and a ‘give me everything’ mentality in the act of shooting heroin. The vocal performances oscillate between being blasé, vulnerable and manic; “Sweet Release” meets power-ballad criteria solely due to Spike’s deteriorating cries into the void, the jittery delivery on “Getting Sober” embodies religious fanaticism while sounding like a pop song written by Suicide for a David Lynch film.

evidence is an album that lives outside the limits of discourse; its purpose is eponymous and self-evident. It is what it is, and is subject to interpretation. There is no point in interrogating attachments, virtue or value. The only rightful way to live is to be.

a 01. CAN'T GET IT UP 4:38
b 02. HAD YOUR WAY 4:04
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

[a] 01. CAN'T GET IT UP [4:38]
[b] 02. HAD YOUR WAY [4:04]
[c] 03. SWEET RELEASE [3:27]
[d] 04. BORED TO DEATH [3:31]
[e] 05. ALL BY MYSELF [2:38]
[f] 06. GETTING SOBER [3:33]
[g] 07. BLUELIGHT[4:35]
[h] 08. HATE ME [7:44]

This VA release brings together four producers who share a common language: hypnosis, movement, and an obsessive attention to sound design. Across two sides of vinyl, the record moves through different shades of deep and mental techno, held together by a sense of restraint and clarity rather than force.

Na Nich opens the A-side with a mental yet groove-driven piece, where impeccable sound quality meets a clean, deliberate design. LFO-driven elements float underneath the surface, almost speaking, giving the track a voice of its own without ever breaking its hypnotic hold.

Forest On Stasys follows with a tribal and deep approach that still hits with weight. Shakers and layered percussion drive the movement forward, building a rhythmic body that feels both organic and controlled.
On the B-side, Translate stays true to a purely mental identity: repeating LFOs and speaking tones that fold in on themselves, always kept clean and precise, letting the repetition do the work.

Save Your Atoll & Gabriele Santucci close the record with a deep, tribal-leaning cut full of groove and motion. Bongos, shakers, and background percussion build a danceable hypnosis, where every element serves the movement.

Four tracks, four voices, one shared sense of direction — a record built for the floor, but never at the expense of detail.