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Electric Mud is the fifth studio album by Muddy Waters, with members of Rotary Connection serving as his backing band. Released in 1968, it imagines Muddy Waters as a psychedelic musician. Producer Marshall Chess suggested that Muddy Waters recorded it in an attempt to appeal to a rock audience. The album peaked at number 127 on Billboard 200 album chart. It was controversial for its fusion of electric blues with psychedelic elements.

Otoboke Beaver return with a new album Super Champon
It follows the critically revered Itekoma Hits of 2019. Champon is a Japanese
noun meaning a mixture or jumble of things of different type. Recorded, mixed
and mastered by Ippei Suda in between lockdowns at Osaka's legendary LM
Studio.Across 18 songs, chief singer- songwriter Acco expands the band's
possibilities and pushes their musical skills to the limit. Acco has remarked
previously that she is more influenced by 'manzai', a traditional style of comedy in
Japanese culture comparable to double act comedy or stand- up comedy
exemplified by its use of slang puns and wordplay, speedy back- and- forth
dialogue and impeccable timing in delivering a punchline, characteristics of which
Otoboke Beaver's music shares in droves.

Collecting Orders For 2025 Repress

Emotional Response's 10th-anniversary celebration are brought to a superb close with Benedikt Frey. He serves up a magnificently dubbed out and psychedelic cover version of Joy Division's 'She's Love Control across four different versions. The vocal version might be the best for us - it retinas that compelling dark drum funk you expect from the band with eerie synth additions and hefty bass. The instrumental is more slow and dubbed out in a traditional sense with the Lucas Croon dub doused in endless reverb. Last of all is a dub by Frey himself that is full of open space and bass bin distorting headiness.

Since 2019, Amsterdam-based curator Pieter Jansen has used his yeyeh label as a vehicle for carefully considered (and sometimes unlikely) ‘first time’ collaborations between different experimental and avant-garde artists including Eversines, Carolina Eyck, Greetje Bijma and Oceanic. After pairing saxophonist/composer/producer Jerzy Maczyński with fellow Polish experimentalist Waclaw Zimpel on 2021 collaborative release Sariani (which was credited to Jerry&ThePelicanSystem in a nod to the former’s earlier album for Warner Music’s Polish Free Jazz series), yeyeh founder Pieter Jansen had an idea. That simple idea – getting Maczyński in the studio with Chicagoan DJ/producer Hieroglyphic Being – was the genesis of this record, the debut album by Universal Harmonies & Frequencies. In June 2022, Hieroglyphic Being flew to Amsterdam to spend five days improvising with Maczyński in a rented studio beneath Volkshotel, under the watchful eye of recording and mix engineer Rein De Sauvage Nolting, better known in electronic music circles for his work as RDS. During those sessions, 26 long, improvised compositions were recorded, with Maczyński contributing saxophones and electronic tools, and Hieroglyphic Being laying down synthesizer parts and vocals. These sessions were captured on film by VLF (Katarzyna Debska), who later created the artwork and visual language for this record release. Some days after the recording sessions, Sauvage Nolting – who had delivered artistic input during the improvisations – sat down with Jansen to select 13 pieces to put forward for the album and a loose conceptual framework. It was then that the hard work began. While a decision was taken to present some improvisations in full, most of what you will hear on Tune IN, as the album is titled, is based on fragments of improvisation. The resultant pieces were reconfigured, re-worked and re-produced by Maczyński and Sauvage Nolting over many months, and in discussion with Hieroglyphic Being. Maczyński added more layers of instrumentation, creating a “whole digital band of reed instruments” – a method he previously utilized on Sariani. What you hear when you play the record defies categorization. It is rooted in a specific moment in time and the spontaneity of musical improvisation – both Maczyński and Hieroglyphic Being are experienced improvisers, albeit with different musical instruments and tools – but also the product of extensive post-production and reflective re-shaping. It is not free-jazz, ambient, electronica, rhythmic cubism (as Hieroglyphic Being’s distinctive sound has previously been called), or avant-garde experimentalism, but something that combines all these musical approaches and more, with a sprinkling of far-sighted futurism mixed in. It is a magical and mystical meeting of musical minds that will pass the test of time in decades to come.

Explore the deep roots of Afro Funk with the 7" vinyl "Jungle Bird Tree" by Funky Destination, carefully released by the eclectic label Sound Exhibitions Records. This sonic gem is a testament to Funky Destination's skill in blending Afrocentric rhythms with the vibrant spirit of funk, creating a musical experience that captures the soul and gets the feet moving.
Jungle Bird Tree by Funky Destination is a musical journey that bridges the past and the present, an immersion into the rich tradition of Afro Funk through the fresh and innovative perspective of a contemporary artist. An unmissable addition to the collection of those who appreciate the fusion of global rhythms and the compelling power of funk.

Deep techno, sometimes nostalgic and melancholic: that what Zooloft Records is. Giorgio Gigli and Francesco Baudazzi (Obtane), balancing soul and body, give birth to intense storytelling through sound, enhanced by an intimate reflection about childhood innocence.

Introspection is driven by a vein of subtle and rarefied nihilism, pervaded in each release. Project's graphics evoke the idea of abstract thoughts written on blank paper, where shadows meet memories.

Future, maybe, is the memory of a beautiful past. So, we are here, today, and proud to present you a special, collector-item vinyl boxset, limited to 100 pieces only, handsigned and remastered, containing the full Zooloft discography.

Scoville Records keeps the temperature rising with it's third release, this time welcoming in Melbourne's own Dashiell. Coming in hot with a 4 track EP that channels classic old-school tech house essence with a tribal progressive touch. This one is sure to bring extra spice to your record bag, handle responsibly.

LTD 300 - Printed Sleeve
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Barranquilla born multi-instrumentalist Pernett is undoubtedly a true pioneer in fusing Colombian folklore with electronic elements. Back in 2003, when he released his first album “Música Para Pick Up”, Humberto was immediately seen as genius by some, crazy and outrageous by others. How dare he incorporate synthesizers into traditional music? What would be called this avant-garde genre where gaitas, traditional drums and keyboards come together? To this date, Pernett has released 6 albums, worked with an impressive number of prestigious artists such as Phil Manzanera, Calle 13, Novalima, or Quantic, and is still influencing whole generations of forward-thinking musicians.

Originally released from is latest album, “Vamos A Hacer” and El Pajarito have been edited for the occasion, by talented recording engineer Benjamin Calais AKA Ben Matik,

A-side “Vamos A Hacer - Ben Matik Instrumental Edit” is a joint collaboration between Pernett and renown British producer Will Holland aka Quantic. A heavy blend of funky breaks and cumbia. A 7-minutes version, exclusive to this 10″, has been especially taken out from the masters vault, and edited by Ben Matik: the original short version takes a unexpected turn to a completely freaked-out “Puya” rhythm, where gaitas and synths perfectly merge together.

B-side “El Pajarito - Ben Matik Instrumental Edit” is a deep downtempo anthem, a perfect fusion of powerful electronic beats, 808 bass, analog synths and gaitas. special attention should be paid to the enchanting voice of Diana Pereira on this one.

Artwork by Mateo Rivano.

The second volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

Several years ago, the Disco Records DJ Crew members got their hands on a couple of original 70s obscurities, while these standout records shone brightly in their own right, the team finally decided to put them out as those obscure old records fetch eye-wateringly high prices on the second-hand market. Due to popular request & lovingly mastered to the highest possible standards, they are now available to play and share in very special moments at parties around the world. This will surely be one of the most keenly anticipated disco release of the year. For our first release, we are extremely proud to bring you at last, three very hard to find disco anthems on sides A & B in their glorious full extended versions

When The Information Centre first dropped on the pirate radio airwaves in the ealry 90's, there was nothing like it. It was at the birth of Jungle, and the track was a slow but immense classic, spreading accross the UK from its London Roots to become one of the most influential tracks in jungle's long and storied history.
Here we have the original version of the track, masterfully remastered and sounding absolutely gorgeous, plus two brand new and heavy hitting remixes, both of which are being played by the likes of Ray Keith, Nookie, and many others...BIG new remixes for 2025....

When The Information Centre first dropped on the pirate radio airwaves in the ealry 90's, there was nothing like it. It was at the birth of Jungle, and the track was a slow but immense classic, spreading accross the UK from its London Roots to become one of the most influential tracks in jungle's long and storied history.
Here we have four of the classic remixes from back in the day, lovingly remastered and made available for the first time since those early days...

Alex Jungle returns to Kniteforce after a small break, with some BIG breaks. Chapter Two (there is no Chapter One...yet) sees Alex drop four incredible breakbeat tracks, leaning into the happy vibe but always tough and technical and with a style unique to himself..the only thing better than this Chapter Two Ep would be...Chapter Three....

Birchy is a relative newcomer to the Kniteforce label, although his previous release (KF266) that played with the Terminator theme tune was a big seller. It's not overly surprising, as Birchy may be new to the label, and a new name to many old skool heads, but he is an experienced producer who has been around for decades, with releases spread far and wide...
This EP samples the classic news broadcast surrounding the famous Castle Morton event in the UK, and the whole EP is deeply old skool and classic in feel. Full on breakbeats, pianos and authentic rave sounds are the name of the game here, and Birchy creates a timless feel to all of it!

SKYLAX RECORDS proudly unveils the fourth and final chapter in its epic, conceptual 4-part saga — SKYLAX BLACK 4 – Vision Quest. This secretive series brings together two pillars of French electronic music, ARNAUD REBOTINI and ACID WASHED, in a bold tribute to the essence of rave, electro, and techno. Following the critically acclaimed Winter Sequences and Musical Component, this last installment pushes even deeper into the roots and futures of the underground. On the A-side, Vision Quest opens the EP with a pulsating journey of progressive electronics — cinematic and sleek, evoking the robotic spirituality of Kraftwerk and the expansive textures of early kosmische music. Next, TOI 700-d channels the golden age of acid house with infectious 303 lines and jacking grooves. Think DJ Pierre, Phuture, and Ron Hardy at their most transcendental — raw, euphoric, and timeless. Flip to the B-side and dive into Black Star Liners — a dub techno masterclass in the lineage of Maurizio, Basic Channel, and Chain Reaction. Deep, minimal, and full of ghostly delay, it’s a meditative immersion in pure sound system hypnosis. Closing the EP, Trojan Asteroids fires into classic Metroplex territory — icy, futuristic, and funk-laced. A perfect nod to Cybotron and Model 500, this is hi-tech soul with a razor’s edge. Once again, SKYLAX RECORDS delivers a visionary release — timeless, intelligent, and essential. The final piece of the puzzle is here. The journey ends… or just begins.

This album is not just a homage — it’s a gentle act of remembrance. A way of tuning in to what Lucier showed us: that listening is an art in itself. A meditation on resonance, memory, and the quiet power of pure sound. Or to quote Alvin Lucier himself: “I guess I’m trying to help people hold shells up to their ears, and listen to the ocean again.”

The influence of Alvin Lucier’s work on acoustic phenomena and the interplay between sound and space is difficult to overstate. His legacy continues to echo through the work of countless composers and sound artists today. Lucier’s music is marked by a sense of childlike wonder and sonic simplicity - shifting our perception from what we hear to how we listen.

At the heart of his compositions lies the sine wave: the purest, most elemental form of sound. Clarinetist Dries Tack pays tribute to this master of minimalism with an album centered around two works Lucier composed as intimate ‘In Memoriams’ for friends. Both pieces explore a single, elegant idea: the interaction between an instrumental tone and a sine wave.

Out of that interaction, ‘beatings’ emerge — a pulsating rhythm that accelerates or decelerates as the waves draw nearer or drift apart. Though built on the same concept, the two works are like mirrored reflections of one another: In Memoriam Jon Higgins, the sine wave glides in a slow glissando while the clarinet holds steady tones. In Memoriam Stuart Marshall, it’s the clarinet that dances around a fixed sine wave.

Dries Tack is a clarinetist specializing in contemporary performance practices. He performs with ensembles such as Nadar Ensemble, Curious Chamber Players, and Ensemble Fractales. As co-artistic director of the GLoW Collective, he explores collaborative practices across artistic disciplines in the broadest sense. In addition to his ensemble work, Dries curates solo projects that offer fresh perspectives on existing repertoire or give rise to entirely new works at the intersection of composition and improvisation.

During this summer’s European tour with Junior Dell & The D-Lites, we were honoured to share the stage at This Is Ska Festival in Germany with none other than The Pioneers.

After the show, fate had me driving Jackie and George back to the hotel. On the way, we got to reminiscing about our last collaboration — Jump Up!, released on Original Gravity Records in December 2023. Mid-conversation, Jackie casually said: “Hey Neil, I’m in England all of July, we could record something.”

I dropped the guys off, said goodnight, but as soon as my head hit the pillow, an idea sparked: wouldn’t it be cool to have them record Jackie Edwards’ northern soul classic I Feel So Bad — but reimagined in an early reggae style?

So in July, we set up a session at Farm Factory Studios in Welwyn Garden City. George and Jackie came down, and it was nothing short of magical to hear these legends harmonising together once again in the booth. The result captures that late-60s moment when soul and reggae collided on dancefloors, raw and full of energy.

To add another dimension, we also created a version as if it had traveled from Kingston to London. The “Boss” version imagines the raw Jamaican master — while the A-side reflects how Trojan Records might have “sweetened it up” with horns and strings for the UK pop market.

Two sides, one timeless tune — a tribute to both the grit and the gloss of reggae’s golden era.

The Armenian electronic underground has been quietly brewing something visceral. After years navigating the labyrinth of electronic production from his Yerevan studio, Dave N.A. strips away the excess to reveal six raw, uncompromising cuts that pulse with quiet intensity. Not the manufactured urgency of algorithmic dance floors, but the honest tension of someone who’s spent years refining his craft while the scene evolved around him.

Following his debut ‘Altura EP’ on no•id, where collaborations with freq444 showcased his ability to merge Armenia’s electronic scene with Brussels’ underground pulse, Dave N.A. returns with ‘Echoes EP’ after the label’s necessary creative hibernation. This isn’t about comebacks or grand statements. It’s about persistence. About the kind of restless creativity that emerges when you’ve been grinding in relative obscurity, releasing on labels like Uppers and Downers, Typeless, and Elicit Records, slowly building a sound that refuses easy categorization.

The EP opens hard and unexpectedly with “BLINK,” delivering a throat-cutting and all-consuming bassline. “ECHOES” builds around atmospheric sounds and percussive elements, driven by a straightforward yet effective drum sequence. “SHADO” ventures into darker and faster territory with sparse drum programming and heavy sub-bass emphasis. Both “RUSH” and “ORB” unleash torrents of unrelenting breaks, each percussive hit landing with surgical precision as sub-bass currents pull everything forward into hypnotic repetition. “HUNTER” closes the journey, stalking into frame with predatory low-end and razor-sharp hi-hats slicing through dense atmospheric fog.

The no•id ship continues to chart its course through Brussels’ underground, prioritizing artists who value craft over hype. With Dave N.A.’s return, the label reinforces its commitment to electronic music that functions on multiple levels: cerebral yet visceral, local yet universal.