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The recently released Nineties styled slow jam NEXT MOVE, on which Jarrod Lawson is joined by Los Angeles-based R&B rising star Raquel Rodriguez, is now available on 7inch vinyl.

The track is co-written by Jarrod and Raquel together with Raquel’s producer Sam Brawner and Andris Mattson of Moonchild. And Moonchild (featuring vocalist Amber Navran) also join Jarrod on the B-side for I’LL BE YOUR RADIO, one of the most-streamed favourites from his album Be The Change.

The limited edition release will tie in with Jarrod’s visit to the UK and the Netherlands for concert dates, including London’s O2 Shepherds Bush Empire and LanterenVenster in Rotterdam.
The recently released Nineties styled slow jam NEXT MOVE, on which Jarrod Lawson is joined by Los Angeles-based R&B rising star Raquel Rodriguez, is now available on 7inch vinyl.

The track is co-written by Jarrod and Raquel together with Raquel’s producer Sam Brawner and Andris Mattson of Moonchild. And Moonchild (featuring vocalist Amber Navran) also join Jarrod on the B-side for I’LL BE YOUR RADIO, one of the most-streamed favourites from his album Be The Change.

The limited edition release will tie in with Jarrod’s visit to the UK and the Netherlands for concert dates, including London’s O2 Shepherds Bush Empire and LanterenVenster in Rotterdam.

RAWAX proudly welcomes Zoo Brazic to the artist Family!

We are very happy to have such a heavy weight of music with us now!
The first strike will be the outstanding release on HOUSEWAX called "Stand Alone EP".

It's expected early September. stay tuned for more!

Fantastic Planet returns with its sixth release, "Survival Mode," a statement dedicated to the ongoing struggle for freedom in Georgia. This electrifying compilation brings together a diverse lineup of visionary artists, each channeling their own unique sound to amplify the message of resilience and resistance. Survival Mode - is a mindset, a relentless fight for existence when all other options have been stripped away. It's about the raw, primal instinct to keep moving forward, even when every door seems closed, and there's no way back. In this mode, every moment is a battle, a test of endurance and resilience. For the people fighting for freedom in Georgia, survival mode represents their unwavering determination to push through oppressive forces, refusing to be silenced or broken. It's the point where compromise is no longer an option, where you either rise or fall-but surrender is not part of the equation. This struggle is about more than just survival-it's about carving out a future, no matter the cost. Design Giorgi grdzelishvili

Straight out of a New Jersey Funky Trunk, we have two of the funkiest fresh cuts
this side of the Hudson. “Butter Fat” is a wah-wah guitar full fat jam, which will
have the heads nodding. “Feel The…” is a more up-tempo soul drenched classic,
both edited to perfection.

A bold reimagining of Scottish folk in a hypermodern soundworld, In a River Shadow blends prehistoric instruments, abstract electronics, and environmental recordings into a unique sonic landscape. The result is a futuristic, technoid sound that feels both organic and otherworldly, like a biomechanical artefact unearthed from a distant future.

In a constellation of influences including Yoshio Ojima, sunytty, and the hyperrealist work of Noah Creshevsky, "Birdhouse" is a dream of voices—human, non-human, and AI-generated—unfolding tranquillity into hallucinatory spectres. On "Star of the Sea," Poole confronts a complicated relationship with prayer by reworking the Catholic hymn "Hail Queen of Heaven, the Ocean Star," reformulating the prayer and stretching vocals to their limits, transforming the piece into a drum-driven, visceral interpretation.

Across this five-track EP, Poole combines personal exploration with collaborative influences, including a partnership with Considerate Digital, and collaborations with vocalist Celine Brooks and artist Gabo.

Music : Poole, additional vocals by Celine Brooks on Weila Waila, and Gabo on Selkie of Sule Skerry.

2026 Repress

DJ Support: Danny Howard, Annie Mac, Mistajam,Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne,Todd Terry, Alex Preston, Full Intention, GW Harrison,DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos,Johan S, David Penn, Sam Divine, Riva Starr, Claptone,Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KCLights, Friend Within, Dombresky, Gorgon City, ChrisLake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, LowSteppa, Mat.Joe, Raumakustik, Eskuche

Coming out the traps strong, our next 4-track vinylsampler series kicks things off with Toolroom’s very own Mark Knight who continues his impressive string of collaborations with Darius Syrossian appearing alongside him for the first time on the label. Mark and Darius, along with studio maestro James Hurr,stumbled on this classic ‘Let’s All Chant’ sample and together proceeded to write a peak-time, tech house slammer around it. With relentless energy and lush vocal licks and that all-familiar 90’s sample, this one works a treat on the dancefloor.International House don Low Steppa is next for a special release with Malta’s finest, Jewel Kid. Their track ‘Big Busta’ oozes ATTITUDE! Slamming tech house drums, an insatiable groove and a tongue-in-cheek vocal that will raise many a smile on the dancefloor. Another certified club weapon for sure! CASSIMM kicks off the flipside on the vinyl with another peak-time club weapon as he returns with ‘Say Yeah’ alongside vocalist Mahalia Fontaine. The Italian born House music maestro is on fine form as always here, hot on the heels of his ‘Love Desire’ record that went stratospheric in late 2023 on Claptone’s ‘Golden Recordings’ label. With a big bassline and oodles of dance floor energy alongside Mahalia’s rasping, diva style vocal adding that classic house vibe to proceedings! Finally, we round things off with the once mysterious but now ‘unmasked’ house duo ‘Wh0’ with a rip-roaring club banger! Remixing for the likes of The Prodigy, Basement Jaxx, Calvin Harris and Meduza whilst collaborating with Armand van Helden, Nile Rodgers and David Guetta under his Jack Back alias.This track is a heads down, no-nonsense, tongue-in-cheek club weapon! Seriously powerful drums, aplayful acid line and a very cheeky vocal that will cause a stir on many a dance floor!

Countless radio plays on Radio 1 from Danny Howard,Sarah Storie, Pete TongOther notable radio plays – Kiss FM, Toolroom Radio,Sirius XM, Data Transmission Radio, Radio 1 DanceAnthems, Radio 1 Party Anthems, Rinse FM, SelectRadio, Tomorrowland Radio

" What Are You Going to Do with Your Life?' is the eighth studio album by British post-punk legends Echo & The Bunnymen, released on April 16, 1999. The album saw the band continue a trajectory set with 1997's 'Evergreen', embracing more introspective themes and melodic approach to its arrangements.

" Featuring an inspired selection of collaborators including strings from the London Metropolitan Orchestra and two songs featuring the American rap rock band Fun Loving Criminals, 'What Are You Going to Do with Your Life?' featured two singles, the title track, and the atmospheric fan favourite 'Rust', which would mark the band's final Top 40 UK single.

" Celebrating 25 years of 'What Are You Going to Do with Your Life?', the album is issued on vinyl for the very first time, alongside expansive 34-track 2CD and digital editions (18 tracks previously unreleased!), which feature B-sides, alternative versions and previously unreleased live versions of both tracks from the album and classic Bunnymen tracks.

“Raggamuffin Soldier” was recorded at Channel One Recording Studio in 1983 with Soldgie as engineer and a rhythm track played by Jolly Stewart and Daniel “Axeman” Thompson. Growing up in the Waterhouse neighborhood of Kingston, Jolly Stewart obviously developed this singing style and gave us a killer early digital dancehall missile with pure conscious lyrics “Raggamuffin soldier, big ina your area...me no deal with badness, me nah deal inna war, me is a raggamuffin soldier...mi raggamuffin ina foreign, raggamuffin sit down pon di riddim...how you know the raggamuffin? Me no wear no gold chain, me no wear no gold ring...”. “Raggamuffin Soldier” was produced by Fitzroy Peterkin who also produced the digital lover tune "Angie".
The Waterhouse style is a particular style of singing that emerged in the late seventies and early eighties within the Jamaican reggae scene. The Waterhouse style is commonly described as a plaintive, groaning and fluctuating vocal style, often nasal and strident, characteristics that will give it a sound that is distinct from the rest of the reggae singers. The commonly recognized founders of the Waterhouse style are the singers Michael "Mykal" Rose, Junior Reid and Don Carlos. The name derives from the famous neighborhood of the same name in Kingston, the capital of Jamaica, the place where the three pioneers were born and emerged. The Waterhouse style influenced many dancehall reggae artists of the eightiesvsuch as Tenor Saw, Half Pint, Nitty Gritty, Anthony Red Rose, King Kong, Yami Bolo, Andrew Bees...
Vincent Stewart aka “Jolly Man” is a reggae singer from Kingston 11, born december 16 1960 at Hunts Bay Lane, 4 Miles, Jamaica. Jolly started singing at age 13, he was placed in an approve School for 3 years and at the age of 16 he was released.
He started his musical career in the late 70's with Ossie Thomas, Phllip Morgan and Tristan Palmer from Black Solidarity label. Jolly Stewart recorded his first song entitled "Money Pyaka" on the classic "Pretty Looks" riddim which was recorded for Oswald Thomas on Ganja Farm label and released in 1979. Tristan Palmer who has another tune "Disappointed Lover" on the same riddim backed by The Soul Syndicate made the link with Jolly Stewart because he liked his style of song writting.
Jolly Stewart wrote three songs for Black Solidarity label: "Collie Man", "Bad Minded" and "Symbol Of Justice". All three tracks were covered by Triston Palmer. As a song writter, Jolly Stewart is behind Yami Bolo's hit on Stalag riddim “When A Man Is In Love” released on Winston Riley's label Techniques.
Jolly Stewart then decided to move on with his singjay career. He ventured to Tuff Gong studio where he met two producers. One was Prince Jazzbo from Ujama label, and the other was John John who owned the Bun Fi Bun label. He recorded "Praise jah" for Ujama and "Poverty Rush" for Bun Fi Bun. Still not satisfied with how his career was heading, he moved on to Lannaman's Preparatory School. There he learned to play guitar from a man named Fred McMurray aka Faf and Donald Jackson. Later he learned to play the keyboards by watching other musicians.
In the late 80's and early 90's, Jolly Stewart recorded many songs for various labels such as “Do Me Like So” for Bunny Gemini's label “Bun Gem Records” in 1987, “Late Last Night” and “War” for producer Zelma Rust and his label Myotta Ruff.
He also recorded for Augustus Pablo on his label Rockers International just before he died in the late 90's but we never heard about this release so probably Addis Pablo have it on old master tapes in the Rockers International archives....only Jah knows!

Layers of fog, hazy synths, solid percussion, and liquid basslines – Esaïa's debut album Mindscapes invites listeners into a dreamlike soundscape. A sonic experience where Berlin’s Berghain meets the vibrant streets of Kingston, Jamaica.

With its cinematic chiaroscuro lined with sub-bass, the album blurs the boundaries between genres. Inspired by the pioneers of dub, Esaïa seamlessly blends hybridisation and experimentation, pushing musical limits to carve out her own sonic space.

An album designed for both the dance floor and introspective listening, 4-to-the-floor techno-driven beats fuse with blissful instrumental flows. Paired with Madame Ipsum’s luminescent visuals, Esaïa’s work creates a multi-sensory experience that sparks the synapses.

Mark Broom and CJ Baker team up as Kingpin Cartel on Rekids for the The ‘Long Dark Soul Of The Night’ EP

Kingpin Cartel, Mark Broom and CJ Baker’s joint House alias debuts on Rekids this November with the ‘Long Dark Soul Of The Night’ four-tracker. The EP starts with the title track, a playful, funk-fuelled cut with squelchy licks and soulful keys. Next, Kingpin Cartel’s ‘Moonrise’ leads with strong percussion that lay underneath a smooth swinging piano riff. ‘You Are’ then dives deep, perfectly blending emotive synth chords with an undeniably weighty house beat before ‘Shakedown’ closes the ‘Long Dark Soul Of The Night’ EP with a quirky synth line and an infectious bassline that firmly keeps it old-school.

Mark Broom is a UK dance music legend with releases on labels like Warp, M-Plant, and Hardgroove. He returns to Rekids as one of its core artists, joining CJ Baker, a producer known for EPs on Innervisions, Emissions Lo-Fi, Well Rounded, and many more. Founded in 2005, their Kingpin Cartel alias has released on Nic Fanciuli’s Saved Records as well as Mark Broom’s Rewired, Pure Plastic, and Beardman imprints, now landing on Radio Slave’s flagship label with the ‘Long Dark Soul Of The Night’ EP.

Juan Ramos is back on BLESSYOU for another round of club specialised tracks. Starting off at a solid 126BPM on the A side, "D2" comes in with a threatening drive bound to cause ruckus on the floor, tripped out vocals used in percussive manner, gung ho drum samples intertwined with a very motivated bass line. "D3" takes a less synthetic turn with the presence of strings and congas juxtaposed with euphoric female vocals. "Collide" slows down and dives into more industrial sounds but could also very well be the background soundtrack to a leather daddy belly dancing instructional video. Overall a pieced up melange of precisely placed elements, reflections of his deepened experiences on Berlin club floors over the last decade, an effortless display of his studio prowess is well at work. No regrets. Mixed by his "Green Vision" project partner in crime, Trent.

Francesco Farfa's timeless club EP "Learn To Fly" freshly remixed 3 decades after its original release in 1991 by 4 of Berlin's finest DJs and producers. A generous arsenal to choose from in terms of dance floor tools, from DJs, for DJs, equipping the record bag with something for a wide range of occasions, can't go wrong. A-side descends into big room darkness with Trent's re-interpretation, effectively complimented with Juan Ramos' bulging trancey approach playfully collaging elements from multiple tracks in the original EP. B-side goes in more ravey/progressive directions with an elevating elucidation by E-talking while Hamsa produces a more stripped down enhancement to the original theme.

James Johnson Jr AKA Kukri is one exceptionally talented electronic music producer, composer and DJ known across the world for his hard as nails techno sound. His calm demeanour belies the massive amounts of energy he creates in his highly technical DJ sets and from within the ethereal beauty of his live performances, with many top-flight DJs swearing by his output, dropping his tracks relentlessly throughout their sets.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got on our heavy duty high explosive under pants for this relentless detonator of a release comin’ at you all the way from across the pond in Ohio, USA. There’s more ruthless techno dynamite in this one release than if you strapped twelvty grenades to a set of decks and pulled all the pins out simultaneously, the roofs are all gonna blow off wherever this one goes KABOOM in clubland. And along-with the three original blast shattering tracks, Lee Holman, making his RIOT Radio Records debut, is on remix shenanigans for the fourth with an aggressively merciless Detroit infused mangling to ignite the crowds even further.

The full digital release also features the original version of ‘Detection’ which Lee Holman accepted an unceasingly intense RIOTous mission to reconstruct.

WARNING: AFTER DETONATION THE RIOT SENTINEL SHALL APPEAR

Twenty-four strikes on Exarde with Parchi Pubblici, the hardware analog act from Italy who records his songs in one take and have been laying it heavily and steadily for a while, henceforth we can hear the result of it with our own ears. The release consists of four original works by the man himself with first three ready for peak time club cuts with the help of roaring analog machines. They are produced to ready to sweat the dance floor, these stories are followed by a great outro track to conclude this EP. “Pressed Trouble” which is the name of this disc describes the content of it perfectly, because sure as hell this body of work is on the mission to create trouble and trouble sometimes needed to construct the top-level audio trips. Having produced digital contents for the respected labels that you can look up, this is a debut physical vinyl release by the artist and it is a great honour to host him on the label and hopefully to many more to come in the future.

To coincide with its 20th anniversary, Clint Mansell's haunting score to Darren Aronofsky's 2000 film, Requiem for a Dream, performed by Kronos Quartet, returns to vinyl. This was Mansell’s second of several collaborations with Aronofsky, following 1997’s π, and features arrangements by David Lang of Bang on a Can. The film stars Academy Award-winner Ellen Burstyn, Jared Leto, Jennifer Connelly and Marlon Wayans, and was adapted from the 1978 novel by Hubert Selby, Jr. (Last Exit to Brooklyn), who also wrote the screenplay with Aronofsky. Set on the rusted mean streets of Coney Island, Brooklyn, Requiem for a Dream tells the parallel stories of four people pursuing their dreams of better lives. The reissue features the original soundtrack, plus two bonus tracks.

Clint Mansell, a musician, composer, and founding member of the band Pop Will Eat Itself, first worked with Darren Aronofsky on the score for his 1998 film π. Also released by Nonesuch are Mansell’s scores for Aronofsky's The Fountain (2006), nominated for a Golden Globe, and Noah (2014). His other scores include The Wrestler (2008), Moon (2009), Black Swan (2010), Filth (2013), Stoker (2013), High Rise (2016), for which he received an Ivor Novello nomination, and Loving Vincent (2017).

For more than 40 years, San Francisco’s Kronos Quartet – David Harrington (violin), John Sherba (violin), Hank Dutt (viola), and Sunny Yang (cello) – has combined a spirit of fearless exploration with a commitment to continually re-imagining the string quartet experience. In the process, Kronos has become one of the world’s most celebrated and influential ensembles, performing thousands of concerts, releasing more than 50 recordings, collaborating with many of the world’s most eclectic composers and performers, and commissioning over 850 works and arrangements for string quartet. A Grammy winner, Kronos is also the only recipient of both the Polar Music Prize and the Avery Fisher Prize. Most recently, in 2019, Nonesuch released Kronos’s ground-breaking collaboration with composer Terry Riley, Sun Rings, and, in 2017, Folk Songs, featuring Sam Amidon, Olivia Chaney, Rhiannon Giddens and Natalie Merchant.

We are excited to announce the release of the Complete James Brown Christmas Collection, a three-LP set featuring music from 1966-1970.

You absolutely don’t need to be a holiday music lover to fall in love with the music spilling out over these James Brown records, as most of the tracks are original compositions that hold their own against many of the grooves that Brown was recording during this high-water mark of his career.

With bonus tracks galore and fantastic liner notes by Alan Leeds (former James Brown publicist and tour manager), and mastered/cut by legendary mastering engineer Kevin Gray, this is a must-have even if you have to give yourself a well-earned, early musical present this year!

DJ support: Gilles Peterson, Zakia Sewell, Heels & Souls, Sam Don, Nonna Fab

Dangerous Goods return to I Travel to You with Wish, two Street Soul inspired versions of a 2001 R&B hit.

Both synth-driven takes were recorded over the summer. The A side grooves over a popping Juno bassline, tight 808 drums, and a fresh vocal. The Deepest Dub mix was re-recorded then cut to tape and pitched down, influenced by the breaks and bass heavy productions of the late 80s and early 90s.

Peppermint Jam is proud to present Mellow Man’s latest release, 'In A Flow', an EP that takes you on a sonic journey through time. With three distinct tracks, this release captures the essence of three different eras of groove: the 70s, the 90s, and today.

Mellow Man has been with us since our founding days in 1994 and is a master of THAT old school sound.

First up, 'In A Flow' throws you straight into the golden age of 90s house music. With its smooth grooves, uplifting melodies, and driving bassline, this track embodies everything we love about classic house.

Next, 'Rumpshaker' brings you right back to the present. This track is all about today’s sound—fat beats, tight production, and a bass to die for, designed to keep the dancefloor moving.

Finally, 'Ghettoblaster' takes you even further back to the early 70s. Featuring the soulful sounds of Artist Locmelis on the tenor sax, this track is a nod to the funk-infused, boombox culture of the era.

Mellow Man produced these tracks using a mix of vintage and modern gear, including the Korg MS 20, Akai samplers, and a Rode NT1000, to name just a few. The result is a rich, textured sound that honors the past while still feeling fresh and relevant today.

With its blend of eras and styles, "In A Flow" is a must-listen for anyone who appreciates the evolution of house music.

NEWLY REMASTERED SOUNDTRACKS FROM MORRICONE’S INCREDIBLE BACK CATALOGUE! DEDICATED TO CULT SOUNDTRACKS COLLECTORS

With output on Ubiquity, Wonderwheel and Razor-N-Tape, London’s Tigerbalm has truly come into her own production voice recently, bringing forth a colorful vision of tropical influences filtered through modern club sounds. With the Profunda Alma EP, the Tiger focusses her attention on Brazil, coaxing out two gorgeous original songs that pay homage to the sizable impact the country has had on her musical sensibilities. Profunda Alma features the vocalist Joy Tyson (who appeared on Tigerbalm’s earlier Nina EP), and creates an atmosphere of deep emotional mystique through driving percussion, an insistent bassline and dramatic guitar stabs. Vem Ca goes for a more bouncey retro samba vibe and features the incredible vocals of Joao Selva, who delivers a hook that feels almost canonical, as if we’ve known it forever. Ever consistent French producer Yuksek takes Vem Ca straight to the club with his remix, and London upstarts Make-A-Dance deliver two trippy dancefloor takes on the title track to make this record a powerful 5-tracker!

Philadelphia producer DJ Matpat delivers his third release of the year with a 12” on NYC's Off Track Recordings. Dropping November 21th “Lucky Strike” is a 4 track raw house EP that delivers a timeless feel full of club-ready grooves that are made to keep energy high on the dance floor. From Deeper Love’s belting vocals to ‘Lucky Strike’s’ chunky drums, ‘Falsettos’ minimalist approach this EP hits a few different sounds for any house music head.

Black Zodiac is a science-fiction sonic piece in which the oblique movement of harmonies allows conversations with other existences. It is a galactic chant created by the words of Manah Depauw and the web of sounds of Ben Bertrand

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

Gospel melts into Soul in this dazzling collection of sides originally released by the Chess subsidiary.


Devised by the same team supporting the likes of Muddy Waters and Etta James at Chess, the vintage of Checker Gospel celebrated here is distinguished by its expertly raw, rugged, live feel — thumping bass and pounding drums, bluesy guitar and horns — and its keen engagement with contemporary realities and politics, with an underlying, unwavering commitment to the Civil Rights movement. Not forgetting its sheer, startling, richly diverse soulfulness.

Key architects of the Chicago Sound and Motown are amongst the scores of contributors: Charles Stepney, Gene Barge, Eddie Kendricks, and Leonard Caston Jr. are in the house… Morris Jennings, drummer on Curtis’ Superfly and Terry Callier’s What Color Is Love… Louis Satterfield from The Pharaohs and Earth Wind & Fire… Ramsey Lewis’ guitarist Byron Gregory… Phil Upchurch… Laura Lee…

Producer Monk Higgins joined Checker in 1967, bringing his experience of R&B and Gospel hit-making for the labels One-derful and Satellite, together with a loyal cohort of musicians. A protege of Willie Dixon, engineer Malcolm Chisholm set up the Ter Mar studio as if preparing for a live gig, carefully teasing measures of bleed into the microphones. With Ralph Bass from King Records running A&R, they knew exactly what they were after. ‘I’m using horns and an R&B sound in gospel recordings,’ said Bass. ‘We have no charts. All the musicians are given the chord changes. I want the cats to think when we’re cutting. I want spontaneity, and that’s what we’re getting.’ And: ‘There is more to gospel than just finding solace in the church. This follows the same message of Martin King, who was fighting for a new way of life. Kids are tired of hearing Jesus Give Us Help. They want a positive message.’

Focussed on the late sixties and early seventies, the twenty-five recordings here are all killer no filler, but try these four, random entry points: the heavy funk ostinato of the Violinaires’ Groovin’ With Jesus, working itself up into a post-James-Brown brass frenzy, sure to knock your socks off; Cleo Jackson Randle’s title track, for those who like their Gospel straight-up and hard-core; Eddie Kendricks’ achingly timely choral call-to-arms, Stand Up America, Don’t Be Afraid; the East St Louis Gospelettes’ heart-stopping, fathoms-deep rendition of Bobby Bland’s I’ll Take Care Of You.
A beautiful gatefold sleeve; a full-colour booklet with excellent notes by Robert Marovich; top-notch sound. Another knockout selection by Greg Belson and David Hill.

A shoo-in for soul compilation of the year.

Colombian-born artist Juan Carlos Torres Alonso, aka OKRAA, presents his third sonic exploration on A Strangely Isolated Place titled, La Gran Corriente. This album marks a profound shift in Juan's creative journey, where themes of portals, the illusion of time, and the paradoxes of self-discovery converge into a powerful auditory experience.
Following a transformative visit to Bogotá in May 2023, Juan underwent an introspective journey that inspired a new direction in his music. This experience, which he describes as an encounter with "an infinite current behind or inside of everything," led to a complete reimagining of his work. Abandoning previous demos, Juan embraced a liberated creative process that was both challenging and exhilarating. 
La Gran Corriente is characterized by its innovative production techniques, eschewing fixed grids and BPMs in favor of fluid, organic structures and combining influences from Juan’s other production alias, ‘Laudrup’. This approach not only opened up new creative possibilities but also led to numerous "happy accidents," resulting in a body of work that is as unpredictable as it is cohesive.
At the heart of the album lies a poem written by Juan during production, a text that echoes the themes woven throughout the music. Translated loosely to English, the poem reflects on the nature of reality and time, with lines like "the land of oblivion is not real" and "the great current reminisces; time is an illusion." These words serve as both a guide and a reflection of the album’s deeper meaning.
La Gran Corriente is a record that invites the listener to unlearn and to immerse themselves in a sonic current that is both infinite and transformative. It’s a testament to the power of creative reinvention and the relentless pursuit of deeper truths through music.
Featuring artwork by Peter Skwiot Smith, La Gran Corriente is available on gatefold colored vinyl 2LP, mastered by Taylor Deupree / 12k Mastering.

The machinic rapture of Van Boom’s debut album, ‘Prosthetics’, firmly planted the Kuwaiti artist in the underground of critical producers that stoke grisly and inhuman themes. Set against the backdrop of the Gulf Region, these themes remain exceptionally nefarious. His latest release, the ‘NUBORNE’ EP, mounts wider explorations of the eviscerating sonic grounds that he began to depict with his first long-playing document.

Gestured with the EP’s title, ‘NUBORNE’ stakes its significance on regeneration and permutation, clearly relishing in the aftermath of ‘Prosthetics’. Across four tracks, Van Boom crafts precisely to forge a set of works that are attached to their live performance state. It’s here that the EP is at home, for this is where unknowns come into play, this is where distortion leads to novel structures. Featuring collaborations with whiterose, Safety Trance, and Evita Manji, ‘NUBORNE’ is rendered evermore atypical. Accompanying the shift in design, there’s an unnerving ambience that’s given free reign across the EP, too. Snapshots of solitude prick the focal points amongst rhythmic tics, as if these shards deform the tracks in real time. With sheer relentless momentum, Van Boom seizes a new path wielding his familiar forces.

Leo Gibbon debuts his first solo release, as the first release on his own Mudline label with Happy Lovers, a four-track EP that immerses listeners in a sonically rich exploration of love’s complexities. Weaving a tapestry of sounds that seamlessly blends deep cuts, hard-hitting drums, and weighty low ends, creating an engaging landscape for both dancefloor enthusiasts and reflective souls alike.

From the opening track, you can feel the infectious rhythms that draw on a diverse range of influences. Glitchy house elements flirt with the raw essence of street soul, while nods to 140 UK rollers add an irresistible pulse. Each track unfolds like a chapter in a modern love story, capturing the tumult of falling in and out of love, all while maintaining a groove that keeps the crowd moving.

The EP’s production shines, showcasing a meticulous attention to detail. He masterfully balances emotional depth with dancefloor energy, making Happy Lovers not just a collection of tracks, but a coherent narrative that resonates on multiple levels. Whether you’re seeking introspection or an escape into sound, This Mudline debut offers the perfect backdrop.

In Happy Lovers, Leo Gibbon has established a strong foundation for his musical journey, inviting listeners to experience the highs and lows of love through an expertly crafted sonic lens. This is a compelling start for both the artist and his new label, one that promises exciting avenues to explore in the future.

An appetite for the unknown" - Daniel Lanois

No collaboration is unlikely when the end goals are the same. A meeting of two artists who illustrate different corners of the musical landscape, come together to create a new statement that takes their collective strengths to higher elevations and encompasses new terrains.

So it is on the first collaborative journey of Canadian musicians Venetian Snares and Daniel Lanois. What started as mutual respect for one another's work, led to several years of a creative germination resulting in an eight-track full-length exploration released May 4th on Timesig/Planet Mu.

The path began in 2014, after Lanois reached out to Venetian Snares (Aaron Funk) as a fan of his work. The project started to take root in Summer of 2016, after Funk hung around Toronto between shows. Taking his gear to Lanois' studio, the two began to play for the first time together in what would prove to be a formative moment in their creative journey together.

I love making music with Dan, he has a real understanding of how to create a world and build what may exist within that world. Bassdrums are trombones and they are a colossal whale which floats on clouds of leaves speaking to the blast furnace feeding the mammoth. A small painting of forest horses hangs in the cranium of the sea horse.' - Aaron Funk

Recorded live in a former Buddhist temple-turned-studio in Toronto,
'Venetian Snares x Daniel Lanois' travels to new zones in what Lanois describes as a body of work driven by exploration'. Like all the best collaborations, it's brought something new out of both musicians. Equipped with their production acuity, they let their natural workflow guide them through uncharted waters. Funk laid the groundwork with drums while Lanois rode the pedal steel, weaving their sounds together in a new sonic tapestry. The two ultimately landed at their destination, their work ready to be shared with those willing to explore.

In Daniel Lanois 'own words:
"To come upon a new form reassures the head that frontier lives on The unlikely pairing of Venetian Snares and Daniel Lanois may very well have provided us with a nice new pair of shoes to walk to new sonic frontier A melange of gospel and electronics As madness of the world trips over its heels these Canadian sonic innovators prepare for travel A body of work driven by exploration, brings to us in our modern times what we remember and admire from the Jazz explorations of the 50s A splintering An appetite for the unknown"

Proudly presenting, ‘Калі ты запытаеш (If You Ask)’, a brand new, blissed-out pop production with a ‘70s AOR touch, by the ever-on-point SOYUZ (СОЮЗ). Coming at a period between albums, the single features guest appearances from the sensational musicians, Biel Basile (O Terno, Sessa) and Anthony Ferraro (Toro Y Moi, Astronauts, Etc.). Friends of the band, they add their signature touch on the drums and synth respectively. To complete the package, SOYUZ back the title track with a short but sweet, Wurlitzer-laden, MPB-tinged number, ‘Tenório’.

‘Калі ты запытаеш (If You Ask)’ tells the story of lost dreams. A track that can be interpreted either as a bittersweet longing for childhood times, or for a native place you can’t return to. For the writer Alex Chumak he suggests, "In my case, as in the case of many Belarusians, it’s both".

For this song, Alex chose to sing in his native Belarusian tongue. As he explains this language "to me feels underrepresented in pop music, also it’s a beautiful legacy and sonority that I wanted to share with the listeners of our project around the world". One of the key inspirations was a Belarusian band “Песняры” (“Pesniary”), who produced a host of great progressive folk, jazz fusion and AOR, from the ‘70s to the ‘90s, predominantly sung in Belarusian.

Another key influence was the music coming out of the Brazilian state of Minas Gerais in the ‘70s, drawing inspiration from the sentimental and harmonious music of Beto Guedes, Lô Borges, Fernando Oly and Wagner Tiso.

Having parted ways with their drummer Anton, SOYUZ needed to find a new way to produce songs. The answer was to go remotely. Alex contacted the brilliant Biel Basile, who had recorded Sessa's contemporary classic ‘Estrela Acesa’, in which Alex also participated. Utilising Biel and Sessa’s newly built studio in São Paulo, SOYUZ had Biel record the drums directly to tape to get the rich sound they were after. Adding the final magic into the mix, California’s Anthony Ferraro provided a beautiful Solina String Ensemble synth arrangement, with drummer/recording engineer Albert Karch expertly assisting with the production.

To capture the essence of the single visually, Alex and the Brazilian one-man-industry visual artist Gabriel Rolim, spent a blazing sunny May day in Berlin shooting film and stills – one of which became the perfect cover image. We hope you enjoy this little nugget of SOYUZ mastery, a sweet taster to savour while the new album is recorded.

Take cover! It's impossible to get rid of the now legendary Stupeflip Crou (="crew"). Like a two-taste chewing-gum that's been stuck under your trainers since 1994, King Ju is back in force with Sons2ouf!!, an album meticulously selected from hundreds of unreleased tracks and alternative versions accumulated over the years. Always on the fringes of a bloated Game, Ju takes us on a tour of his strange cabinet of curiosities. Far from being a simple collection of sounds, the album is a real creation in its own right in the Stup discography. 'Mock-ups are often better than the final sound, like a sketch that's always more alive than a finished painting,' he explains. Here we find that first draft, bits of stuff not yet digested by the industry. Some of the nuggets are antediluvian, but they sound extremely lively, as if they had been written the day before. In Stupeflip's parallel world, time doesn't exist. We find the themes dear to Crou: childhood, rage, non- violence, the passage of time, a passion for music and nostalgia. As usual, the beat is cut with a meticulous flow, there's no time to take a breath, the Stup just does what it wants, churning out one bullet after another in a fusion of genres and styles that's as distinctive as ever. Specially dedicated to aficionados, the album celebrates 30 years of Le Crou! The Holy Grail for every Stup fan!

Matthew Dear's Black City Can't Be Found On Any Map. It's A Composite, An Imaginary Metropolis Peopled By Desperate Cases, Lovelorn Souls, And Amoral Motives. Like Most Literary Gothams, Black City Is A Place To Love And Hate, As Seedy As A Nightclub's Back Room And As Seductive As The Promise Of Power. Matthew Dear, The Musician, May Live In New York City, But The Matthew Dear Of Black City Inhabits A Sound-world Unlike Any Other: A Monument To The Shadowy Side Of Urban Life That Bumps And Creaks, Shudders And Wakes Up Screaming In The Middle Of The Night. Black City Is Matthew Dear's Third Album On Ghostly International, And It's His Darkest And Most Engrossing Work To Date.

From The rst Notes Of Album Opener "honey", It's Clear That The Love-obsessed Matthew Dear Of 2007's Asa Breed Has Given Way To A More Existentially Paranoid Entity, As Creeping Tempos Dominate, Cavernous Atmospherics Envelop The Listener, And Strange Distortions Crackle On The Horizon. In Black City, Nothing Is At It Seems: Leadoff Single "little People (black City)" Is A Nine-and-a-half Minute Disco odyssey, subverting its gleaming electronic lead with eerily giddy backing vocals and cryptic, ominous lyrics ("a frozen wasted heart / has died", "love me like a clown"); "You Put a Smell on Me" is a sordid sex romp set to hysterically chattering percussion and a serrated synth line that will set your teeth on edge; "More Surgery" at rst recalls the barely-there Krautrock of Harmonia in its burbling minimalism, until Dear's chanted chorus of "Alter genetics / to make my body glow / I need more surgery / there's so much more to know" sends the track hurtling into a dystopian future.

And yet, for all the foreboding moods on Black City, it's the album's sweeter moments that illustrate Matthew Dear's growing maturity as a songwriter. "Slowdance" is a futuristic lullaby in which Dear articulates a lover's helplessness ("I can't be the one to tell you everything's wrong") over breathy, Arthur Russell-esque cello swishes; the album-closing "Gem" is an achingly simple, reverb-drenched piano ballad that ends with a long, slow fade. Even in Matthew Dear's Black City, there is hope.

400,000+ creations on TikTok with 1 Billion+ views and 20 Million streams on Spotify. Sunship's remix of Friendly Pressure continues its resurgence. Radio One, Capital, Kiss FM in the UK as well as many top Dance stations around the world have been re supporting the record.

Now a brand new 2024 version is here with added bass and a new arangement that has been filling dance floors all summer.

Specs: 3 x 140g black 12" vinyl, in a 6-panel outer sleeve, printed on reverse of 350gm board. 3 x inner sleeves printed on 300gm offset paper, plus 4-page insert.