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Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of
half-light with a clutch of earworms and affecting emotions.

Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s
distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.

Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments.

Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod.
Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.

Who would expect that a new Krautrock release on Macadam Mambo would come from a Japanese band called Heavenphetamine?! The duo/couple have been touring all over Europe in the past two years, and started to build a serious fan base, as every performance they deliver is leaving an imperishable memory. This is on a date in Belgrade at Karmakoma that they met with Sacha. They had this album recorded and auto-release on tape but not on vinyl, and it came completely naturally to decide to release it as a LP on Macadam Mambo. The tracks on the album are new versions a bit different from the tape, let’s say a bit more mature and minimal than from the first ones recorded and give the feeling of listening to a masterpiece in the genre. It can be dark and profound but also enough light to bring back this little sun that has trouble to shine in the winter. This album has been highly influenced by their experience with the war in Ukraine, and the friendship they made there, where it has been recorded, and it express this mix of emotions due to the feeling of exasperation and the hope to see someday this conflict come to an end and the relief of the peace…

Dewa Alit, master of radical Balinese gamelan, returns to Black Truffle with Baur Bentur. Genetic (2020, BT063) introduced international listeners to the magical sound-world of Alit’s Gamelan Salukat, who perform on instruments tuned to a unique scale derived from modified versions of two traditional Balinese scales. The two pieces heard on Chasing the Phantom (2022, BT093) further demonstrated his radical fusion of tradition and experimentation, with passages where unorthodox techniques make the acoustic ensemble resemble glitching electronics. Baur Bentur now highlights another aspect of Alit’s work, presenting pieces composed in 2024 and 2025 where Gamelan Salukat performs alongside virtuoso pianist Sri Hanuraga. Alit’s music is grounded in deep reflection on the tradition of Balinese gamelan and its place in the contemporary world. His title, ‘Baur Bentur’, which translates as ‘mixing and smashing’, points to his embrace of the intercultural mixture of Eastern and Western elements in the search for innovation. Against the calcification of Balinese music into tourist entertainment, Alit poses his searching, experimental work, which celebrates the communal values and performance practices of traditional gamelan while pushing into startling new directions.

‘Sukat Tacara’ is a study in layered tempos, meters, and polyrhythms, a constantly shifting dialogue between piano and the instruments of Gamelan Salukat. It begins close to a traditional concerto, pairing a brisk sequence of melodic variations from the piano with a spare but propulsive accompaniment of drums and hanging metallophone tones, punctuated by low gong strikes. The piano builds in volume and density across a rapid succession of fragments, at points recalling George Antheil’s ticking wind-up machinery, though Hanuraga’s jazz background shines through in the fluidity with which he navigates the complexities of the score, where chromatic movement co-exists with bluesy phrases. An abrupt change in the piano to patterns of dense clusters introduces a new episode, during which the metallic instruments of the gamelan enter the foreground. The piece dazzles with its inventive rhythms and dynamics, building to a stunning passage featuring the signature heavy muting technique of the Gamelan Salukat metallophones in kinetic patterns that would be at home on a Príncipe release.

The title piece begins at high intensity and rarely lets up, working through bracing unison ensemble melodies and punctuation points where piano and gamelan together seem to become a single, thudding drum. For much of the piece the piano is tightly integrated into the ensemble, the harmonic extensions of the melodic line subsumed into a moving cloud of complex overtones generated by the gamelan instruments. Wildly kinetic on the rhythmic level, the piece swarms with microscopic movements of beating patterns generated by the ‘blend and crush’ of three simultaneous tuning systems: the equal temperament of the piano and the saih cenik (small scale) and saih gede (big scale) used by the gamelan instruments. Accompanied by the composer’s thoughtful liner notes and images of the musicians, Baur Bentur is a stunning next step in Alit’s radical combination of tradition and innovation.

Originally Self-produced in 150 copies (1977), MAR-VISTA’s only album is one of France’s most strange and radical records. Psychedelic electronic music, experimental, and acid folk A collector’s holy grail for fans of Klaus Schulze, Terry Riley, Neu, and Silver Apples. Includes a previously unreleased second record (1973)

Although he's released on numerous labels since debuting almost a decade ago, Eduardo Barbi aka Gledd returns to his own reliable imprint Saint Wax. On his fourth vinyl missive for the imprint, My Church Is On Fire, the Italian producer delivers a quartet of cuts that happily boast samples from vintage gospel cuts. It's a simple idea, brilliantly executed, as proved by the righteous, spiritual, organ-rich stomp of opener 'Let It Shine', featuring guest lead vocals from Steve Salmaso. Elsewhere, 'Mama Don't Preach' is a whirlwind of sampled gospel soul vocals, expansive piano solos and chunky deep house beats, 'Be Real' is a heavily electronic slab of gospel-house deepness, and 'Back on My Stay' is a locked-in, late-night delight with an effortlessly soulful finish.

This release is the new 2024 Classic Jungle Repress EP by Aphrodite & Amazon II showcasing the original and highly influential tracks from between 1994 and 1996 produced by DJ Aphrodite.

EU/UK Exclusive

Japanese pressing - comes with Obi

A compilation of the Japanese band 'Piper' who formed and released 5 albums in 80's, and for this special compilation all tracks are selected by the original members and taken from their 4 albums released between 1983 - 1985.

Including the city pop classics 'Summer Breeze' & 'Breezing' along with more mellow funk/soul crossover fusion hits.

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

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

Vessel Recordings line up US producer Jason Merle for the fourth instalment in his Vessel Recordings Group series, where across four tracks - including the nearly ten-minute opener 'I'll Be Gone', 'Sumthin Bout', 'The Nature of Love', and 'Actin Like' - we've deep, atmospheric textures and propulsive house momenta. Merle's signature approach to layered electronic production shines brightly here; B-sider 'The Nature Of Love' opts for deeply echoic, tunnelling sonic tribalisms, countering the A-side's shinier 4x4 allure.

Recorded about a year after Scenery, his second album retains the delicacy and emotional depth of his playing, but adds a new strength that gives the world Fukui paints a clearer contour and striking dimensionality. From the bittersweet, heart-stirring melody of “Mellow Dream” to the vibrant, exhilarating drive of “Horizon”, the album is filled with performances that shine brilliantly. It is also notable that the number of original compositions only one on the debut—has increased to three here, allowing listeners to appreciate Fukui’s musicality even more fully. Considering its maturity and the richness of its content, it may even be fair to say that this work surpasses his first album. Ryo Fukui, who sadly passed away...

2026 Repress

Bosconi Records, the Florence-based imprint run by Fabio Della Torre, is back with something truly special. Over the years, the label has built a reputation for pushing house, funk and electro in all their shades, always keeping a strong link between the local scene and international legends. And when it comes to legends, there are few names that shine brighter than Alexander Robotnick.

The Italian electro pioneer – aka Maurizio Dami – has already collaborated with Bosconi on The Hidden Game and Italcimenti Under Construction. Now he returns with My La(te)st EP, a vinyl-only release that pulls five standout cuts from his 2007 CD My La(te)st Album and finally makes them available on wax. All tracks have been remastered for the vinyl format, enhancing their depth and dynamics to deliver the best possible experience on wax.

The EP opens with “Jette Le Masque (Extended Version)”, driven by a pumping bassline and jagged sawtooth synths, with whispered French vocals by Robotnick himself. Stretched out and more DJ-friendly than the original, this version is tailor-made for the dancefloor.
On “We Love The Music” things get fun and funky: vocoder vocals, an electro-funk bounce and that unmistakable Robotnick irony. A killer cut to start a set on the right foot.

Flip the record and you dive into the acidic depths of “I’m Getting Lost In My Brain”. Old-school Chicago vibes, a hypnotic groove and basslines that just don’t quit – a peak-time weapon that feels raw and timeless.
Then comes “A Coffee Shop in Rotterdam”, one of those secret gems: melodic, laid-back and warm, built on a slapping bass and dreamy arpeggios. It has that Riviera house touch from the ’90s, but with Robotnick’s unmistakable twist.

Closing the EP is “Addio” – a track that wears its heart on its sleeve. Romantic, emotional, and driven by a bassline that nods back to Robotnick’s all-time classic Problèmes d’Amour. A perfect goodbye track, the kind that leaves a smile on your face as the lights come on.

This is a must-have for vinyl lovers and Robotnick fans alike – five cuts carefully remastered for the vinyl format, pressed exclusively on wax and ready to work the floor from start to finish. Don’t sleep on it: limited copies, vinyl only.

2026 Repress

French DJ and producer Hemka makes a striking solo debut on Mutual Rytm with 'Introspection'.

Born in Marseille and based in Paris, Hemka has been shaping her take on techno for over a decade, steadily growing her international presence with music on respected imprints such as Token. Her music fuses the raw energy of 90s techno with modern textures and is fast-paced, groovy and laced with subtle psychedelia. By weaving in her own vocals, Hemka adds a deeply personal and authentic layer that resonates with both the body and mind. Following the strong reception of her track 'Fragrance' on the 'Federation Of Rytm III' compilation, this potent new EP is a powerful reflection of her bold, emotional and forward-thinking artistic voice and the start of an exciting new chapter with SHDW's Mutual Rytm.

'Abyss' kicks off with tightly coiled, heavy-hitting drum funk and eerie synths that never let up while ghoulish vocals layer in extra darkness and anxiety. 'Time' is another sleek, stripped-back but banging wedge of linear techno excellence and 'I Can't Shine' layers up paranoid vocals with high-speed glitches and rubbery drums to ensure maximum impact in the club. The excellence continues with 'The Bad Place' with booming drums and moody synth atmospheres, getting you up on your toes and keeping you there. Last, 'Unchanged' fizzes with static electricity as wordless vocals refract around the mix next to wispy synths and icy hi-hats. Digital bonus cuts 'Voice In My Head' and 'Eternity' round things out with more heady and intense techno for driving deep into the night.

GRAMMY-prämierte Rap-Ikone Nas und DJ Premier – zwei der einflussreichsten und angesehensten Persönlichkeiten der Hip-Hop-Geschichte – veröffentlichten ihr mit Spannung erwartetes Kollaborationsalbum „Light-Years“ am 12. Dezember digital über Mass Appeal Nach den limitierten Day Ones Editionen gibt es nun die regulären Editionen mit Artwork, ab 20. Februar 2026.

Nach jahrzehntelanger Vorfreude ist „Light-Years“ die Wiedergeburt einer 30-jährigen Zusammenarbeit. Die Partnerschaft von Nas und DJ Premier ist tief in der DNA des Hip-Hop verwurzelt. Ihre Geschichte begann 1994 mit „Illmatic“, das Hits wie „N.Y. State Of Mind“, „Memory Lane“ und „Represent“ hervorbrachte. „Illmatic“ etablierte Nas als Ausnahmetalent und festigte Premiers damals aufstrebende Karriere. Ihre musikalische Chemie vertiefte sich im Laufe des folgenden Jahrzehnts durch Klassiker wie „I Gave You Power“, „2nd Childhood“, „Nas Is Like“ und „N.Y. State Of Mind Pt. II“.

Angeführt von Mass Appeals bahnbrechender Reihe „Legend Has It…“, die einige der wichtigsten und einflussreichsten Hip-Hop-Künstler aller Zeiten feiert und ins Rampenlicht rückt, präsentierte die Reihe ein ganzes Jahr lang historische Veröffentlichungen von Kultur prägenden Künstlern wie Slick Rick, Raekwon, Ghostface Killah, Mobb Deep, Big L und De La Soul. Mit „Light-Years“ liefern Nas und DJ Premier den krönenden Abschluss dieser legendären Reihe, in der ihre unbestreitbare Synergie nach wie vor einzigartig ist.

2006 zierten Nas und DJ Premier das Cover des Scratch Magazine und kündigten ein gemeinsames Projekt an, das die Begeisterung der Fans erneut entfachte und die zwei Jahrzehnte währende Vorfreude beflügelte. Letztes Jahr taten sich Nas und Premier zusammen, um das 30-jährige Jubiläum von „Illmatic“ mit der Veröffentlichung des neuen Tracks „Define My Name“ zu feiern, mit dem sie erstmals ihr wegweisendes Kollaborationsalbum ankündigten.

„Light-Years“ ist ein wahrer Beweis für den Einfluss beider Künstler, ihr Vermächtnis und die Zeitlosigkeit ihrer gemeinsamen Musik.

NUTRIA Sounds proudly welcomes Leo Kal to the family with his debut EP, The Roots EP (NUTRIA 004). Across five tracks, Leo Kal delivers a deeply musical statement—grounded, expressive, and rich with intention—perfectly aligning with what NUTRIA Sounds continues to cultivate: organic sound, essential rhythm, and soulful movement.

The Roots EP showcases Leo Kal’s true musicianship, blending groove, harmony, and texture into a body of work that feels both timeless and forward-thinking. Each track is driven by feel and craft, emphasizing connection over excess and allowing the music to breathe naturally on the dancefloor and beyond.
Celba opens the EP with an uplifting, bouncy groove—light on its feet yet firmly rooted, setting a joyful and inviting tone.

Station Verlaine soars effortlessly, carried by smooth, flowing keys that glide across a warm, rhythmic foundation. Roots, the EP’s title track, shines with warm piano lines and earthy percussion, embodying the spirit and intention behind the project.

Round 50 delivers the EP’s most club-friendly moment, channeling a spacey, late-’90s feel with a modern, refined touch.

Second Eyes closes the EP on a downtempo, junglesque note, wrapping the listener in texture and atmosphere while leaving them wanting more.

With this release, NUTRIA Sounds continues its mission to highlight nutrient sounds for the soul and the feet—music that is honest, rooted, and deeply connected. Leo Kal’s debut stands as a confident and inspired entry into the catalog, reinforcing the label’s commitment to artistry, balance, and musical integrity.

Adult Sonics - Shuffle Master EP (SRR004)

BODJ & ROKSI in true magician style, wear their top hats & capes as they come together once more under their Adult Sonics alias, this time shuffling the deck for the inaugural vinyl release of London based record label, Stay Restless.

An original 3-track EP with the signature ADS sound - trippy and dark yet playful, created having big sound systems in mind, it’s already been in rotation from Sunwaves festival to SASH in Sydney and back.

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

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

We proudly present Sidequests Trilogy, a special triple vinyl release from Session Victim that brings together the previously released Sidequests Chapters 1, 2 and 3 in one beautifully curated edition. It’s a journey through the duo’s deeper impulses and dancefloor instincts alike—rich, soulful, and unmistakably Session Victim. Sidequests Trilogy is available now on Delusions Of Grandeur as a limited triple vinyl LP on Olive Green Vinyl.