Search:sam

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 10

A1) GusGus - Crossfade (Maceo Plex Remix) (Original Release 2014)

Released in 2014 on the German label KOMPAKT, this remix by Maceo Plex features Ten Walls-like horns, vocals, and pumping drums, making it a true Ibiza floorkiller. The vocals are by Konstantin Sibold. This remix was only released as a white label (Kompakt Exclusive) and has yet to have an official vinyl release. Despite this, it remains a favorite among DJs and clubbers worldwide, regularly played at festivals and clubs.

A2) Plaything - Into Space (Original Release 2001)

This groovy track, released in 2001, contains a sample from Sheila & B. Devotion's Spacer, with Nile Rodgers as one of the producers. The original trackSpacer is an iconic disco hit from the 1970s, and Plaything put a contemporary spin on this classic. The track was a hit in Belgian clubs in the early 2000s, often played by prominent DJs. It has since been released on various labels and remains a timeless favorite in the electronic music scene.

B1) Ion - W.B. (Original Release 2002)

This trance classic by DJ Ion was first released in 2002 on the Belgian label B². The track quickly became a beloved classic within the trance community. Danny Casseau, the producer behind this track, is also known for other legendary works, including the trance classic Ion 98 - Tructure, which had a significant impact on the trance scene. W.B. is a pure, old-school trance track, crafted in the way only tracks from that era were!

This vinyl is extremely rare and hard to find, making it a sought-after item for collectors and trance lovers. It is still played in the sets of DJs who cherish the older trance sound, and it fits perfectly in contemporary sets as well!

B2) Subaltern - Forever (Ledge Forever Remix) (Original Release 2007)

This club banger was released in 2007 on the French label Voices Records and was a popular track in well-known Belgian clubs like Illusion and La Rocca. The Ledge Remix added an energetic, infectious vibe that made it a true hit on the dancefloor. It received an official vinyl release in 2007, but it is now difficult to obtain. Subaltern's Forever remains an unforgettable club classic still appreciated by electronic music lovers.

C1) Lykke Li - No Rest For The Wicked (Joris Voorn Remix) (Original Release 2014)

Swedish singer-songwriter Lykke Li scored a worldwide hit with I Follow Rivers, but also had great success with the powerful track No Rest For The Wicked. The Dutch producer Joris Voorn gave his own tech-house spin to the track in his known style!

Voorn's remix keeps the atmospheric mood of the original but adds a new, dancefloor-friendly dynamic that makes it suitable for the electronic music world.

This is the first time this remix is being released on vinyl since the original release in 2014, making it a rare and desirable item for both collectors and DJs. Thanks to the powerful mix of melody and rhythm, this remix of No Rest For The Wicked remains a timeless favorite that has found its place both in clubs and in vinyl collections of music enthusiasts and DJs.

C2) The Roc Project feat. Tina Arena - Never (Filterheadz Luv Tina Remix) (Original Release 2002)

This Spanish dance track hit Europe in 2003, thanks in part to the legendary remix by the Belgian techno duo Filterheadz. Brothers Bert and Maarten Wilmaers, known for their distinctive techno sound, gave the track their own twist with strong beats and an uplifting bassline, creating a timeless club hit that was heard everywhere in the early 2000s.

The vocals by Tina Arena add an emotional layer, while the Filterheadz Luv Tina Remix has stood the test of time and still gets everyone moving. At 12 Inch Lovers parties, this track never goes unnoticed and often brings the night to a high point. This track is a must-have for both collectors and DJs who love a mix of emotion, energy, and a solid techno sound.

D1) Soul Syndicate - Inside Of Me (Steel Union Remix) (Original Release 1995)

Speaking of a trance classic, this one is a true gem! Inside Of Me was released in 1995 during the golden years of Belgian trance music on the legendary Belgian label Aquatic Records. The Steel Union Remix by Zzino is an absolute favorite among trance lovers.

With its iconic sound and unmatched energy, this track is a true ode to the Belgian trance scene. It remains an unadulterated classic that still makes an irresistible impact, not only at retro trance events but also in the sets of contemporary DJs. Since its release, this remix has been hard to find, making it an even rarer piece of trance history. A track that has stood the test of time and is a must-have for collectors and fans of old-school trance.

D2) Ken Laszlo vs. Disco Dice - Hey Hey Guy (House Dub) (Original Release 2003)

Ken Laszlo, the Italian singer who became globally famous in the 1980s with the iconic Italo-disco hit Hey Hey Guy, received a re-release in 2003 on the house label Dubmental. This version was reimagined by Disco Dice, who gave the track a fresh house vibe with a more modern sound. Belgian DJ Jean, known for his influence on the Belgian nightlife scene, introduced this track into the clubs and transformed it into a club classic.

This release, although released in 2003, is now very rare and hard to find on vinyl. It's a hidden gem that continues to withstand the test of time, making it a valuable collector's item for lovers of both Italo-disco and house.

D3) Icehouse - Hey Little Girl (Infusion Remix) (Original Release 2002)

The Australian band Icehouse released the iconic track Hey Little Girl in 1982 on the British label Chrysalis. This synth-pop track was a big hit and still remains one of the classics from the 1980s. The original track was later included in the remix album Meltdown in 2003, where the Australian duo Infusion created a contemporary electronic remix that gave the track a new dimension.

The Infusion Remix adds a modern, danceable twist to the original synth-pop sound. This version surprised both fans of the original hit and lovers of electronic music, remaining a sought-after track in DJ sets.

This track has been unavailable on vinyl since its original release in 2003, making it a rare collector's item.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

AFTER DARK is the latest project from French producer Onra, conceived as the soundtrack to an imagined late-night film. Entirely self-produced, the album continues the sophisticated R&B and Modern Soul direction explored since his 2010 classic Long Distance and 2018's accomplished Nobody Has To Know, focusing on late 80's / early 90's inspirations.

Structured like a film unfolding between dusk and dawn, After Dark moves through themes of intimacy, urban solitude, distance, and quiet indulgence. Analog synthesizers, tight drum programming, understated basslines, and selective live saxophone textures shape a cohesive body of work that favors mood and narrative over excess. The sequencing reinforces its cinematic intent, opening and closing with intro and outro pieces that frame the record as a cohesive night-time narrative album.

Over 20 years since emerging in the mid-2000s from the beat scene, Onra has steadily evolved from sample-based Hip-Hop production toward polished, song-oriented projects rooted in contemporary R&B and Funk. With After Dark, he delivers one of his most focused and refined statements to date: a mature, immersive album built for late hours, and attentive listening.

This record can be played at any speed !!! Good sign :)

This EP offer a superb first tune, kind of a Cold Rush style, long synth-emo intro with a light kick... but... after 3/4 minutes, comes the HARD ONE ! Beautyful Hardcore Techno !
Th rest of the EP is in the same vibe, offering a super overview on how Hardcore and Techno are so intricated !!

ENJOY !!

FIMIANI is an Italian music digger, passionate DJ and producer with an unmistakable House, Soul and American influences from black music, funk, soul and disco.

FIMIANI is one of the best DJs in the TOY TONICS camp.

His track “Disco Music” is a hit. Played by DJs like Palms Trax, Folamour, Louie Vega of Masters at Work, Horse Meat Disco, Seth Troxler, Mousse T. and many others.

Combining the original NYC house sound from the 1990ies with the best of Italian Disco history. Turning it all into a very contemporary flow of afro-american and Italian music based on funk, soul, melodies and rhythm. Just listen to his 2 EPs he did on Toy Tonics and you understand. All played live with musicans (no samples) this sounds like the best organic house tracks you can get at the moment.

Fimiani lands a major milestone with his remix of John Julius Knight’s Find a Friend (Sulfuric Trax), hitting number 1 on the Overall & House chart via Traxsource.

Check also FIMIANI’s edits of extremely rare Italian disco on his own imprint Caffè Corretto edits. Under the name BPLAN.

Dx2ov arrives on Blank Mind with Tonegues, his second vinyl LP following on from Interzona on Gost Zvuk in 2024. The LP title is a wordplay on the idea of speaking in tongues and sonic tonalities, echoing the process and dialogue that went into creating the record. Taken from a vast archive of material from 2019-2025, these ideas were arranged with the collaboration of label owner Sam Purcell and then completed with the long-distance assistance of Toupaz.

Tonegues is best seen through the lens of a beat-tape, with the playful flow and variety that the format provides, bursting with oddball ideas and punctuated with intangible vocal samples. Much like the LP’s beguiling, hand-drawn artwork by Wolfgang Matuschek, it is a glimpse into an inner world, a portal to somewhere uncanny and strange borne through imagination.

Light dub flourishes mix with footwork/IDM hybrids and understated, melancholic synthesis on ‘2018’, whilst the loose, rhythmic march of ‘Fon32’ evokes the dusty beatdown styles of early 2000s Detroit downtempo records. Whilst on one of the LP highlights ‘Trout’ he lays down a gleefully strange bed for the surrealist storytelling of Jacob Dwyer about interactions with dogs, dripping old houses and a perennial wish for the phone to ring with a heavy dub poetry slant. Dx2ov swiftly moves through more footwork adjacent, almost bedroom hyper-pop territories with a penchant for gabber kicks on ‘No Strings (feat DJ Paprika)’ and the maximalism of album closer 'Demetch' which continues in the tradition of wonky, mid-2010s UK bass music flips. The outcome is a confounding, unorthodox piece of work, zigzagging between forms, textures and moods.

Edition of 200

MELODI is the debut full-length album from Norwegian artist Sommerfeldt; a collection that takes listeners through the artist's mind, inspirations, experiences, and travels.
With a 20 year track record and releases on labels such as Full Pupp, Paper Recordings, and his other home Badabing Diskos, this album showcases a playful approach to genre, where a tight drum machine groove forms the foundation of a colourful record that touches on ambient, '80s, new wave, deep house, balearic, and downpitched progressive trance from the early millennium (which Sommerfeldt himself highlights as his formative years).

The album has been four years in the making. Several of the tracks were recorded around the world on hardware samplers and synths; bird sounds and ocean waves were captured, processed, and later finalised in his studio in Oslo.
Joining him is a stellar team of contributors; Embla Maria, Sigmund Floyd, Toshybot, Guro Kverndokk, Kristian Solhaug and Magnus JJ, adding outstanding vocal performances, gritty guitars, and oval percussion, the original cover artwork signed by Sommerfeldt's own favourite artist, Quentin Desveaux.

All of this is woven together into a cohesive whole that will make you want to listen again and again.
The six track musical masterpiece is set for physical release May 29th 2026 on a bold orange 12"

This first release inaugurates Sistema Infinito, a new platform by Sabla created as a space for a more continuous release flow and for exploring different angles within his sound. SI 00 sets the tone for a shifting direction while remaining connected to previous work.

The first track, Zerozero, shares its name with the release itself and reflects it sonically. An exercise in bass minimalism, defined by quasi-weightless low-end pressure and reduced, suspended form.

Punti leans closer to Sabla’s previous outputs, where skeletal drums and percussion wander throughout the 7 minutes.

Punto Uno and Punto Due sit on side B, creating 15 mins of atmospheric texture. They extend the conceptual axis of Sistema Infinito, where the same material resolves into different structural states.

All of these sounds operate as a starting point for forthcoming SI releases, creating a flux of recurring and evolving sounds and ideas.

DJ Support: Claptone, Adam Beyer, Joris Voorn, Kaskade, Martin Solveig, Bob Sinclar, Deeper Purpose, Malaa, CID, Valentino Khan, Claptone, Malaa, Danny Howard, Fatboy Slim, Bob Sinclar, James Hype, Tita Lau, Format:B, Fedde Le Grand, Mark Knight & more.

Toolroom Trax’s next Sampler showcases 4 big releases from Shiba San, CID, Nausica, ALL U NEED, Twolate, NIINE, Dario Nunez, Alex Now (ES), Gloria IT & Danny Rhys.

Clear Vinyl mit blauer Marmorierung. Das luxuriöse Atelier Ryza (Original Soundtrack Trilogy)-Vinyl-Boxset enthält 45 Songs auf drei LPs, darunter die beliebtesten musikalischen Highlights aller drei Spiele. Jede Vinyl-Schallplatte steckt in einer polylined Innenhülle und befindet sich in vollständig illustrierten Covern mit Rücken. Das Set beinhaltet außerdem ein 24-seitiges Booklet mit Konzeptzeichnungen, Charakter-Artworks, Liedtexten sowie Liner Notes auf Englisch und Japanisch. Alles ist in einer hochwertigen, schweren Box verpackt, die diese Sammlung zu einem echten Must-have für jeden Fan des Spiels, seiner Kunst und natürlich der Musik macht, die immer ein wesentlicher Bestandteil des Erfolgs der Atelier Ryza Secret Trilogy war.Die Atelier-Serie ist ein JRPG-Franchise mit dem Thema Alchemie, entwickelt von GUST und seit 1997 laufend. Die ,Secret Trilogy" umfasst die Videospiele Atelier Ryza: Ever Darkness & the Secret Hideout (2019), Atelier Ryza 2: Lost Legends & the Secret Fairy (2020) und Atelier Ryza 3: Alchemist of the End & the Secret Key (2023). Sie ist die erste Reihe innerhalb der Atelier-Serie, die über mehrere Titel hinweg dieselbe Protagonistin zeigt. Die Geschichte folgt einem gewöhnlichen Mädchen, Reisalin ,Ryza" Stout, die die Alchemie entdeckt und gemeinsam mit ihren Freunden ein Sommerabenteuer erlebt, welches ihr persönliches Wachstum durch diese Erfahrungen widerspiegelt. Alle drei Titel im neu veröffentlichten Atelier Ryza Secret Trilogy Deluxe Pack bieten Verbesserungen hinsichtlich Bedienkomforts sowie zusätzliche Inhalte, um die ,Secret"-Reise weiter aufzuwerten.

Clear Vinyl mit blauer Marmorierung. Das luxuriöse Atelier Ryza (Original Soundtrack Trilogy)-Vinyl-Boxset enthält 45 Songs auf drei LPs, darunter die beliebtesten musikalischen Highlights aller drei Spiele. Jede Vinyl-Schallplatte steckt in einer polylined Innenhülle und befindet sich in vollständig illustrierten Covern mit Rücken. Das Set beinhaltet außerdem ein 24-seitiges Booklet mit Konzeptzeichnungen, Charakter-Artworks, Liedtexten sowie Liner Notes auf Englisch und Japanisch. Alles ist in einer hochwertigen, schweren Box verpackt, die diese Sammlung zu einem echten Must-have für jeden Fan des Spiels, seiner Kunst und natürlich der Musik macht, die immer ein wesentlicher Bestandteil des Erfolgs der Atelier Ryza Secret Trilogy war.Die Atelier-Serie ist ein JRPG-Franchise mit dem Thema Alchemie, entwickelt von GUST und seit 1997 laufend. Die ,Secret Trilogy" umfasst die Videospiele Atelier Ryza: Ever Darkness & the Secret Hideout (2019), Atelier Ryza 2: Lost Legends & the Secret Fairy (2020) und Atelier Ryza 3: Alchemist of the End & the Secret Key (2023). Sie ist die erste Reihe innerhalb der Atelier-Serie, die über mehrere Titel hinweg dieselbe Protagonistin zeigt. Die Geschichte folgt einem gewöhnlichen Mädchen, Reisalin ,Ryza" Stout, die die Alchemie entdeckt und gemeinsam mit ihren Freunden ein Sommerabenteuer erlebt, welches ihr persönliches Wachstum durch diese Erfahrungen widerspiegelt. Alle drei Titel im neu veröffentlichten Atelier Ryza Secret Trilogy Deluxe Pack bieten Verbesserungen hinsichtlich Bedienkomforts sowie zusätzliche Inhalte, um die ,Secret"-Reise weiter aufzuwerten.

Black vinyl with Starlight Sparkle effect. Barry "Epoch" Topping returns with the long-awaited soundtrack to BIRDCAGE. The widely celebrated game is the debut release of POLYGON BIRD Games. BIRDCAGE is a fast-paced, vertical scrolling shoot 'em up that blends the explosive action of 90s arcade classics, with modern gameplay and storytelling. What is the value of a bullet, when you wield a sword? While players have been praising BIRDCAGE for transferring retro aesthetics into modern times, the incomparable soundtrack is always pointed out for the same reasons. Entering Barry Topping, who gained recognition for the famous Paradise Killer game soundtrack and lately continued to spread those funky city pop vibes with his very own project The Needs. But for BIRDCAGE it was time to stray from his "trademark sound" and explore a different sonic space he had always been passionate for as well.





[e] 5RAPTOR [FLEDGLING]



[i] 9RAPTOR [MOTHER]

Soul Jazz Records celebrate 25 years of working in partnership with Studio One with brand new editions of FIVE of their best-selling CLASSIC Studio One collections all released on limited-edition one-off pressing coloured double vinyl. Also available in new limited-edition card wallet CD editions. The new edition featured albums are Studio One Funk, Studio One Dub, Studio One Ska, Studio One Roots and Studio One Classics.

A blistering collection of non-stop Ska classic tunes featuring classic cuts from the originators of Ska alongside a heavy dose of superb rarities from the might vaults of 13 Brentford Road - pure fire! This compilation features classic tracks from The Skatalites, Bob Marley & The Wailers, Delroy Wilson alongside super-rare tracks from the likes of Ken Boothe, The Maytals, Jackie Mittoo, Tommy McCook and many more. Clement ‘Sir Coxsone’ Dodd’s musical empire was founded on Ska, the first explosive and most exciting music to come out of newly independent Jamaica. This album is a celebration of the music of Studio One Records’ seminal Ska releases and features a who’s who of some of the most important artists in the history of reggae music.

ProleteR returns with a warm and playful blend of swing and nu jazz.
The first single, “Things of the Past,” introduces the album with a smooth fusion of neo-soul and sampling, enhanced by subtle swing elements. “Do It” (focus track) leans into a more vibrant electro-swing energy, featuring Lyre le Temps, a major figure in the global electro-swing scene.
The worldwide tour kicks off in the US this May and August, before heading to Europe in September (20 shows) alongside Blockhead and Arms & Sleepers.

Nobody knew. Not the crowd packed into Circolo Kessel that Sunday evening, not even the six musicians on stage. When Giardini di Mirò played on March 19, 2023, it was supposed to be just another homecoming show in Cavriago, the kind of night where you play for the people who’ve known you longest. Some were missing from the audience, though: “Our closest friends stayed home to watch the football match tonight,” Jukka quipped from the stage. “But that’s fine, we’ll deal with them tomorrow.” In hindsight, even Juventus fans who celebrated their 1–0 victory over Inter made the wrong choice.

Seventy minutes in, all the instruments converged into a one-chord riff, driven by the drums and punctuated by screaming guitars. A repetitive rhythm that paired brutal volume with hypnotic precision. Even those at the back of the room felt it: that trance-like state where sound becomes physical. Then the wall of sound collapsed. Guitar feedback lingered in the air for a few seconds before fading into nothing.

This was the last sound Giardini di Mirò made. They haven’t played since, and there are no plans to do so again. But in that moment, nobody knew.

The closing song that night was also the opener of their debut full-length, recorded more than two decades earlier. Its title, A New Start, carries an unintended irony the band would likely appreciate. It is also oddly fitting that their final show took place in the same building where they began. Circolo Kessel, previously known as Calamita, served as the band’s rehearsal space for many years. Yet since their rise to becoming one of Europe’s defining post-rock acts, they had never performed a concert there.

In a fortunate coincidence, Markus Mathis – a longtime fan who had recorded several of their shows before – also captured this final concert using two room microphones and a feed from the mixing desk.

Quasi Casa is the complete, unfiltered document of that night: an “official bootleg” spanning over 70 minutes of purely instrumental music, drawing on material from across their entire career, from the earliest releases to Del Tutto Illusorio. It captures, with striking clarity, the intensity that defined the band’s live performances.

Rather than simply uploading the recording and calling it a day, the band chose to assemble a physical release as a parting gift to their fans. The double LP includes a 16-page booklet with extensive liner notes and visual material.

It’s Been Awful marks the moment Isaiah Rashad fully becomes his own genre.

The Top Dawg Entertainment visionary returns with his third studio album, expanding his sonic world beyond hip-hop into cosmic jazz, psychedelic guitar rock, Soulquarian neo-soul, and flashes of genre-blurring experimentation.

Featuring SZA, Dominic Fike, and Julian Sintonia, Rashad delivers his most vulnerable and fully-realized work yet after five transformative years, an unfiltered reflection on addiction, growth, self-confrontation, and redemption.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

Erased Tapes are proud to re-issue The Red Book by Penguin Cafe, with an expanded vinyl track list which now includes the CD and digital-only “And Yet…” plus two tracks from the limited-edition Umbrella EP. This new edition will be available on limited translucent vinyl and CD, both with updated art from Studio Torsten Posselt utilising the original drawing from renowned British sculptor and Simon Jeffes’ partner Emily Young.

Penguin Cafe was founded by Arthur Jeffes in 2009, bringing together a talented and disparate group of musicians initially to perform his father Simon Jeffes’ legacy of world-renowned Penguin Cafe Orchestra music, ten years after his untimely death in 1997. Following the release of A Matter of Life shortly after founding, The Red Book was released in 2014 to critical and fan acclaim.

“The name The Red Book comes from the book by Karl Jung of the same name. The book is about, among other things, the way our subconscious interacts with and intrudes into our daily lives. I thought this fitted what we were trying to achieve with the second album quite neatly — namely, exploring musical worlds that are at once both familiar and strange. There is another meaning which is that the main mastered disc you end up with, the one from which all other copies will be made, is called the Red Book Master — so somewhere at some point there will be a disc on which will be written “The Red Book — Red Book Master.”

The tracks on the album all fall on some point along a scale going from gently Apollonian at the one end to perhaps a bit more Dionysian at the other. For our purposes this would be the ‘spacey’ end — with tunes like 1420 and Aurora, and the ‘imaginary folk’ end — with tracks like Odeon, Radio Bemba and Black Hibiscus. The tracks between these extremes are, perhaps with Silent Sun in particular, an attempt to blend these two parts.”

Tum Tum Tum is the eighth album from London-based Brazilian artist Marcelo Frota aka MOMO., featuring guest appearances from Brazilian bossa nova legend Marcos Valle and Smoke City's Nina Miranda as well as UK jazz trombonist Rosie Turton and his tight-knit band, all recorded in South London This is a free-flowing, warm, expansive and fully assured album, and exudes a playfulness and a sense of someone who is truly in their element and at peace when writing and recording.

Welcome to the ROCKSTEADY SOUND from Jamaica..

Towards the end of 1965 some say due to the extreme heatwave that was hitting the island, the people that followed the Sound System Dances demanded a slower beat so they could still move and groove to the all night musical affairs.

So sit back and enjoy the tunes that rocked the island between 1966-1968 the Rocksteady Sound that hit the town…..

Written and recorded throughout 2025 in their longtime ex-taxi-office-turned studio 'Cherry Lips', and produced by frontman Richard Archer alongside longtime collaborator Wolsey White.

The album looks outside the window to the fractured present, and paints it in bold musical strokes, with the same sharp- eyed social commentary that powered their classic debut Stars of CCTV, but with fresh perspective, new sounds and hard-earned freedom.

Written and recorded throughout 2025 in their longtime ex-taxi-office-turned studio 'Cherry Lips', and produced by frontman Richard Archer alongside longtime collaborator Wolsey White.

The album looks outside the window to the fractured present, and paints it in bold musical strokes, with the same sharp- eyed social commentary that powered their classic debut Stars of CCTV, but with fresh perspective, new sounds and hard-earned freedom.

* Begleittext vom legendären Musiker, Autor und Compiler Lenny Kaye (Patti Smith, Nuggets) * Das Booklet enthält bisher unveröffentlichte Fotos und Raritäten * Das Cover wurde restauriert und auf ein Gatefold-Cover erweitert * Neu remastert * Platz 5 auf Kurt Cobains Liste der 50 Lieblingsalben 1968 schnappten sich drei Schwestern aus Fremont, New Hampshire, ihre Instrumente und nannten sich ,The Shaggs". In diesem Moment begann eine eigentümliche Geschichte, die weit über die fünfjährige Existenz der Gruppe hinausreichen sollte. Dot, Betty und Helen (und gelegentlich Rachel, die vierte Schwester) spielten in der Gruppe auf Drängen ihres Vaters, Austin Wiggin Jr., der überzeugt war, dass sie groß rauskommen würden. Jahre zuvor hatte Austins Mutter ihm aus der Hand gelesen und vorausgesagt, dass ihr Sohn eine strohblonde Frau heiraten würde, dass er nach dem Tod seiner Mutter zwei Söhne bekommen würde und dass seine Töchter eine beliebte Musikgruppe gründen würden. Die ersten beiden Vorhersagen traten ein, also war Austin sicher, dass auch die dritte eintreffen würde. Mit unerschütterlichem Selbstvertrauen und der kühnen Vorhersage seiner Mutter beschloss Austin, dass seine Töchter auf den Besuch der örtlichen Highschool verzichten und stattdessen zu Hause unterrichtet werden sollten, unterbrochen von einem strengen Programm aus Instrumental- und Gesangsübungen sowie Jumping Jacks und Sit-ups. Bald darauf betraten The Shaggs die Fleetwood Recording Studios in Revere, Massachusetts, um ihr einziges Album ,Philosophy Of The World" aufzunehmen, eine Sammlung von Garage-Rock-Songs, die Charme und Dissonanz gleichermaßen in Einklang brachten. Austin gab den Großteil seiner Ersparnisse nicht nur für die Aufnahmen aus, sondern auch für die Produktionskosten, um 1.000 Exemplare des Albums zu pressen (von denen 900 nach Fertigstellung auf mysteriöse Weise verschwanden). Im gesamten Album werden einfache Wahrheiten durch die Feder von Schwester Dot, der Songwriterin der Band, offenbart. Die Reichen wollen das, was die Armen haben, genauso wie die Armen das wollen, was die Reichen haben. Deine Eltern lieben dich. In der Nähe liegt Glück und in der Ferne Traurigkeit. Das Album erfüllte Austins Erwartungen an den Rockstar-Ruhm nicht, doch die Gruppe blieb bis zum Tod ihres Vaters zusammen und trat regelmäßig im Rathaus von Fremont und in einem örtlichen Pflegeheim auf; weitere Alben wurden jedoch nicht veröffentlicht. Das hätte das Ende sein können, bis die Rockband NRBQ eine Kopie bei einem Radiosender in Massachusetts entdeckte und sie 1980 neu veröffentlichte. Der damalige Rezensent des Rolling Stone beschrieb es als ,die atemberaubend schrecklichste wunderbare Platte, die ich seit Ewigkeiten gehört habe". Fast 50 Jahre später zählt das Album zu den polarisierendsten LPs aller Zeiten. Manche sagten, es sei das Schlimmste, was je produziert wurde. Andere empfanden es als eines der großartigsten Langspielalben des 20. Jahrhunderts. Frank Zappa bezeichnete die Band bekanntlich als ,besser als die Beatles", während Kurt Cobain das Album auf Platz 5 seiner Liste der 50 Lieblingsalben setzte. Originalausgaben des Albums erzielen Preise von 10.000 Dollar. Jahrzehnte später könnte man argumentieren, dass Austin vielleicht die ganze Zeit recht hatte. Wir sind alle hier und immer noch fasziniert von der Reinheit der Shaggs.

DYING VICTIMS PRODUCTIONS is proud to present the much-needed reissue of BAPTHOMET’S BLOOD’s sophomore album, Second Strike, on vinyl LP and - for the first time - CD formats. Originally released in 2008, the Italians definitely continued in the same vein: rough speeding heavy metal hailing the old goods of NWOBHM and 80s speed metal. Beer drinkers and hell raisers though and through, this one is for the backwards leaning blue-collar metal maniacs. 8 tracks + a cover of German heavy metal cult act Tyrant finished of this Second Strike

DYING VICTIMS PRODUCTIONS is proud to present IRON KOBRA’s highly anticipated third album, Eternal Dagger, on CD and vinyl LP formats. Additionally their two previous albums will be re-released at the same time. Formed in 2008, Germany’s IRON KOBRA began with a noble mission: to bring heavy metal back to its unpolished, rough, and weird roots. Influenced by heroes of old like Iron Maiden, Cirith Ungol, Living Death, Manowar, and Tank with a sprinkle of punk, the band brewed up a venomous concoction of catchy-yet-speedy heavy metal with maximum potential for engagement – whether it was singing along to, banging your head, and / or raising your fist! Their first few years were busy, releasing the Cult of the Snake demo in 2009 and the Battlesword EP the year after. After playing extensively all throughout Europe and earning a reputation for being a force to be reckoned with live, IRON KOBRA teamed up with DYING VICTIMS in 2012 for the release of their momentous debut album, Dungeon Masters, and three years later for their more refined second album, Might & Magic.

The years after – especially those around the pandemic – brought the band’s external momentum to a crawl. But behind the scenes, they were still writing and playing select shows, even venturing as far as Japan. Now, at very long last, IRON KOBRA return to stake their claim as kings of swords & sorcery metal with Eternal Dagger! Granted, the characteristically amazing cover artwork suggests a sci-fi bent, but the timeless HEAVY METAL the Germans unleash here is vintage IRON KOBRA: immediately recognizable as them, but still reflecting on (and refining) their past, incorporating influences from their favorite bands to result in something that will be YOUR favorite soon enough! Aided by the gleaming & glorious production of Stefan Castevet (Vulture, Luzifer), Eternal Dagger explodes with excitement at every turn, its nine songs ranging speed metal tracks like “Trembling Dungeons” to NWOBHM-fueled rockers like “Shibuya Nights” and epics like "Mountains of Madness.” It goes without saying that IRON KOBRA’s arsenal here offers a wide variety of pure metal gold, evoking the likes of Exciter, Brocas Helm, Diamond Head, and early Running Wild but, of course, with their undeniable personality and panache. So strap yourselves to your seats, maniacs: the Cult of the Snake is back, bringing you heavy hymns that will pierce your eardrums like a heavy metal drill

Rough Trade Records veröffentlicht eine remasterte Doppel-Vinyl-Neuausgabe von Love Is Overtaking Me. Die Sammlung vereint Folk-, Pop- und Country-Songs von Arthur Russell, darunter "Planted a Thought", "Close My Eyes" und "I Couldn"t Say It to Your Face". Die ursprüngliche Ausgabe erschien 2007. Für die neue Edition wurden frisch entdeckte Originalbänder verwendet und von Timothy Stollenwerk in Portland neu gemastert. Ergänzt wird das Release durch überarbeitetes Artwork von Molly Smith sowie ausführliche Linernotes von Tom Lee. Seit über zwanzig Jahren macht Audika Russells vielseitiges Werk zugänglich und hat maßgeblich dazu beigetragen, ihm posthum ein größeres Publikum zu erschließen. Heute gilt er als visionärer Künstler und Einfluss für viele zeitgenössische Musiker. Schon zu Lebzeiten arbeiteten zahlreiche Künstler mit ihm, darunter Produzent John Hammond. Auf dem Album finden sich außerdem Aufnahmen mit The Flying Hearts sowie Projekten wie The Sailboats, Turbo Sporty und Bright & Early. Aus über acht Stunden Material zusammengestellt, umfasst das Album Aufnahmen von 1973 bis 1991. Einige Stücke sind auch im Film Wild Combination: A Portrait of Arthur Russell von Matt Wolf zu hören.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten, beginnend mit Muddy Waters’ „The Best of Muddy Waters“ und Howlin’
Wolfs „Moanin’ in the Moonlight“.
„I Was Walkin’ Through The Woods“ versammelt Buddy Guys frühe Aufnahmen für Chess Records, die
allesamt in den frühen 1960er-Jahren entstanden. Die Sammlung rückt sein glühendes Gitarrenspiel in den
Mittelpunkt und zeigt eindrucksvoll, warum Guy zu den herausragenden Talenten der neuen Generation
von Bluesmusikern in Chicago zählte. Zu den zentralen Titeln gehören „First Time I Met The Blues“ und
„I Found A True Love“.
Mitte der 1960er-Jahre veröffentlichte Chess Records eine Reihe von Alben unter dem Titel „The Real
Folk Blues“, die Singles aus den Karrieren einiger der bedeutendsten Künstler des Labels bündelten. John
Lee Hookers „The Real Folk Blues“ unterschied sich von vielen dieser Kompilationen, da es eigens für Chess
neu eingespielte Sessions enthielt.
Diese legendären Aufnahmen aus dem Jahr 1966 fangen die Essenz seines unverwechselbaren Sounds und
seines einzigartigen Zugangs zum Blues ein. Zu den herausragenden Titeln zählen „One Bourbon, One
Scotch, One Beer“, „Stella Mae“ und „I’m In The Mood“.

Wie Amerika selbst ist auch die Geschichte von Chess Records eine Geschichte von Chancen in neuen Ländern, in denen Grenzen zwischen Hautfarbe und Kultur überwunden wurden, um Rhythm and Blues-Musik
zu schaffen, die Zuhörer auf der ganzen Welt beeinflusste. Das beeindruckende Künstleraufgebot von Chess
– und seine Gründer – haben den Blues von Volksmusik zu populärem Sound weiterentwickelt und verändert.
Im Jahr 2025 feiert Chess Records sein 75-jähriges Jubiläum. Anlässlich dieses historischen Meilensteins
wird Chess im Oktober dieses Jahres eine umfassende Jubiläumsreihe mit einer kuratierten Auswahl audiophiler Vinyl-Neuauflagen starten, beginnend mit Muddy Waters’ „The Best of Muddy Waters“ und Howlin’
Wolfs „Moanin’ in the Moonlight“.
„I Was Walkin’ Through The Woods“ versammelt Buddy Guys frühe Aufnahmen für Chess Records, die
allesamt in den frühen 1960er-Jahren entstanden. Die Sammlung rückt sein glühendes Gitarrenspiel in den
Mittelpunkt und zeigt eindrucksvoll, warum Guy zu den herausragenden Talenten der neuen Generation
von Bluesmusikern in Chicago zählte. Zu den zentralen Titeln gehören „First Time I Met The Blues“ und
„I Found A True Love“.
Mitte der 1960er-Jahre veröffentlichte Chess Records eine Reihe von Alben unter dem Titel „The Real
Folk Blues“, die Singles aus den Karrieren einiger der bedeutendsten Künstler des Labels bündelten. John
Lee Hookers „The Real Folk Blues“ unterschied sich von vielen dieser Kompilationen, da es eigens für Chess
neu eingespielte Sessions enthielt.
Diese legendären Aufnahmen aus dem Jahr 1966 fangen die Essenz seines unverwechselbaren Sounds und
seines einzigartigen Zugangs zum Blues ein. Zu den herausragenden Titeln zählen „One Bourbon, One
Scotch, One Beer“, „Stella Mae“ und „I’m In The Mood“.

London based producer Akhavelli’s debut (instrumental) album "Moorthodox Psyence", operates like a recovered transmission from a fractured timeline. The project is built around a fictional rupture in 1996 where memory, signal and culture begin drifting out of phase, framing the music as something intercepted rather than composed. Drawing on the dense collage tradition of sample-based production, the record blends experimental Trip-Hop, turntablism and psychedelic rhythm with the hypnotic repetition of Krautrock and the tactile grit of analogue Hip-Hop. Its palette pulls from Japanese Soul and Funk, ex-Soviet Psychedelia, Turkish and North African sources, Arabic textures and classic 90s vocal cuts and scratches. Beneath the surface sits a subtle Sufi influence, positioning the producer less as author than as receiver: sampling as remembrance, sound as a way of piercing the veil between timelines. The result is what Akhavelli calls Breakbeat Psyence: a hypnotic, transportive body of work that feels less like a conventional album and more like a lost artefact recovered from inside a loop in time.

The name Akhavelli is a layered reference. It plays on Machiavelli, both the historical figure and Tupac’s Makaveli, filtered through his background and perspective. Even though "Moorthodox Psyence" is Akhavelli's first release, he has been working under the name Yvng Face, as a producer and as a professional mixing and mastering engineer for over two decades now. He runs a high-end hybrid analog studio and has mixed and mastered major records across multiple genres. That technical background feeds directly into the precision, sonics, and consistency of this album, even though Akhavelli is a distinct artistic identity.

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

**LIMITED 500 UK COPIES ON BLACK VINYL** VINYL ONLY RELEASE for RSD: Rival Consoles, UK producer Ryan Lee West, shares his original score for MindsEye, the highly anticipated narrative-driven game from Build A Rocket Boy, the studio led by visionary game director Leslie Benzies. The industrial techno score doesn’t just accompany the game, it’s embedded in the code of the world they have created together. The full score sees its debut on vinyl for the first time as a limited-edition Record Store Day 2026 release.

Set in Redrock, a sprawling desert metropolis ruled by surveillance and automation, MindsEye follows Jacob Diaz, an ex-soldier haunted by fractured memories. As his personal mission escalates, he’s forced to navigate a world shaped by rogue AI, militarized tech, and a fragile grip on control, all while confronting the truth about his past. "In MindsEye, sound is a critical storytelling layer, from ambient detail to emotional drive, every element is designed to shape how players feel inside the world," said Craig Conner, audio director at Build A Rocket Boy. "Rival Consoles’ tracks brought something truly special to that vision. Ryan’s music adds a distinct emotional charge and texture that elevates key moments. It doesn’t just accompany the game, it sharpens its edge, deepens its atmosphere, and perfectly complements the world we’ve built." The score was produced over the span of three years in his London studio, and contains some of West’s most ambitious and heaviest compositions to date.

To coincide with today’s release of the game, the 10-track score is now available to stream in its entirety. MindsEye follows West’s previous scoring work, including bespoke music for 2019’s Black Mirror episode Striking Vipers, featuring ‘I Love This, I Love You’, 2022’s Netflix feature doc El Caso Figo about the legendary football player Luís Figo, and Alexander Whitley’s contemporary dance production Overflow, which was released as a studio album with the same name in 2021. The most recent Rival Consoles album, Landscape from Memory, was released in July 2025 to critical and fan acclaim. A world tour continues into mid-2026.

2026 REPRESS

Pure, Distilled Dub. Upholding Jamaica's Legacy As Well As Germany's Unequivocally Influential Dub Techno Spirit, Moonshine Recordings Proudly Welcomes Their Next Addition To The Roster. On The Controls For The 9th Full-length Album Release, A True-to-the-roots, All-analogue Musician: Another Channel. Having Put Himself On The Map With Releases On Soukah's Blacksoil Records, Bristol's Transient Audio As Well As On Australian Imprint Modern Hypnosis, It's Now Time For The Album Release, We've All Been Waiting For. No Computer Involved As Impeccable Arrangements And Analogue Reverberations Unfold. Live And Direct In The Original Dub Mixing Fashion, The Augsburg-based Artist Uniquely Transports The Sonic Characteristics Of Rhythm & Sound Into The Present Time.

Subtle Vinyl Crackles Gently Introducing Meditative Beats, 'run Dub' Sets The Pace. Keen Listeners Find Themselves Embedded In Lively Echoes And Reverbs, Left To Bask In Smooth, Sonic Contemplation. Engineered To Soothe The Soul, Timeless Foundation Sound. Intensified Groove Meets Low-frequency Pressure In 'amir Dub' Among Haunting Melodica Fragments. '(yes!) Badness' Unsheathes Its Off-kilter Swing, Vocal And Foley Samples Musing In The Distance - Further Showcasing Another Channel's Technical Prowess. Heavy Chord Stabs And Delicate Overdrive Counterpoint The Immense Scope Of Conjured Space In 'ael Na Dub', Concluding A Beautiful A-side.

Lush Chords Lure Us To The Flip-side - 'solid' Kicks Off With A Staccato Bass-line In The Midst Of Lavish White Noise Surges And Minimal Drums. Rooted In Endless Feedback Trails, Steadily Kept In Check. Previously Teased, The Mighty 'ethiopian Dub' Steps Through In Full Glory, Carried By Militant Drum Motion And Forceful Low-end. On A More Spacious Excursion, 'uranus' Takes A Brightly Lit Stroll Through The Analogue Dub Universe, Led On By Another Channel's Signature Groove Propulsion. Pointing Back Towards A-side, Prolific Dub Proponent Babe Roots Presents His Musical Qualities In A Monumental Remix Of 'run'.

2026 Repress

Tasty Recordings return with another set of straight up, party starting firepower. Five delectable edits cooked up in the kitchen of a handpicked selection of producers, that know a thing or two about splicing the spice into your life.

In the early 1990s, at the intersection of New Beat, early techno and EBM, a wave of raw, experimental club music emerged from Germany—dark, mechanical and often strangely playful. Among its most distinctive voices was Scrot, the project of producer Lars Janzik (Base Scan, Decade V, Technoline).

Originally released on ZYX Records, Scrot’s three seminal singles—“Teufelsrhythmus”, “Der Rhythmusmensch” and “Der Amokläufer”—captured a unique moment in early European techno. Built on hypnotic drum machine patterns, lo-fi sequencing and spoken-word German samples, these tracks combined industrial textures and unconventional vocal treatments with early techno production techniques and a peculiar sense of humor.

Limited to 300 copies on black vinyl and 200 copies on orange vinyl, and accompanied by an exclusive postcard, “Teufel & Mensch” brings together some of the project’s most iconic tracks and remixes, alongside the previously unreleased Knauer Remix of “Teufelsrhythmus”.

More than a retrospective, “Teufel & Mensch” stands as a document of a transitional era—when techno was still forming its identity, and artists like Scrot were pushing its boundaries into strange and uncompromising territory.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

The ENSOULED EDITS series begins by showcasing the work of Cee Alassad, a Moroccan producer famed for his previously digital-only reworks of historic cuts from his native country. It's these reworks Alassad offers up on his first vinyl outing for the freshly minted series. He begins with 'Tekere', a lightly house-style revision of a simply sublime workout - all bouncy, layered percussion, glistening guitars, righteous horns, heady vocals and chunky kick-drums. Over on side B, he tackles another cut from the same artist, joining the dots between 21st century Afro-house, synth-laden Afro-disco and far-sighted, tech-tinged grooves.

Side A’s “Mysterious Vibes” comes from Action (1977), the later-era The Blackbyrds LP produced by Donald Byrd. By this point the group had fully locked into that hazy jazz-funk pocket—rhodes, bassline glide, & drums that feel tailor-made for loops. It’s been a quiet weapon for producers: Kurious (“I’m Kurious”), Paris (“The Days of Old”), plus later flips from Big K.R.I.T. & Dom Kennedy. The Jazz Dub leans into that—stretching the groove, letting the atmosphere breathe, keeping it playable.

Flip side is certified soul-collector territory. Tom Brock’s “When There’s Nothing Left…” is lifted from I Love You More and More (1974), produced by Barry White & Gene Page. Lush, aching, full orchestration—exactly why Just Blaze flipped it for Jay-Z’s “Girls, Girls, Girls” off The Blueprint. One of those samples that instantly connects eras.

This isn’t just a “nice edit” 45—it’s a bridge between jazz-funk heads, soul collectors & hip-hop producers. Both sides rooted in records that already did damage, now reworked for the floor.