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The final chapter of The Third Room's curator-led series is shaped by GiGi FM, an artist whose work moves fluidly between club functionality, emotional storytelling and immersive sound design. Through her productions and performances, she has developed a distinct language where rhythm, atmosphere and movement exist in constant dialogue. For the closing chapter, the focus lies on cohesion. Bringing together artists connected through a shared sensitivity for groove, detail and space, the release unfolds through percussive structures and atmospheric elements that move with clarity, depth and intention. The Half Bearded Man by Fergus Sweetland opens the record. A rough yet detailed rhythmic framework, syncopated percussion and a rolling bassline create forward motion, while softer elements and a subtle vocal layer introduce a contrasting sense of lightness, drawing the listener into the track. On Shark Attak, D-Leria places percussion at the centre, but with a more restrained approach. Polyrhythmic bleeps and high-frequency sweeps weave around the groove, maintaining depth and tension without becoming intrusive, giving the track a quiet but persistent drive. The B-side opens with one of its defining moments: Anukari, a collaboration between Efdemin and GiGi FM. Bringing together two distinct approaches, the track unfolds as a layered and atmospheric piece: detailed percussion, connecting textures and subtle melodic fragments create a sense of depth that feels both modern and slightly otherworldly, while remaining inviting and grounded. Closing the record, Even by Fireground reduces the elements further. Warm chords and a restrained rhythmic core create an open, enveloping space, balancing softness with tension and allowing the track to unfold with a quiet sense of momentum. Across all four tracks, the release remains tightly cohesive: built on groove, space and carefully placed detail. As the final entry in the series, it shifts the focus from structure to flow, offering a closing chapter that feels immersive, connected and complete. A1 Written and Produced by Fergus Sweetland | A2 Written and Produced by Giuseppe Scaccia | B1 Written and Produced by Giulia Fournier & Philip Sollmann | B2 Written and Produced by Angela Dragonetto & Danielle Paduano Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Isle of Jura is proud to present the first official reissue of Esa’s self titled LP originally released in 1987. Following the 2024 reissue of iconic single 'A Muto', this full album release marks a bittersweet milestone for the label. Developed in close collaboration with the estate of the legendary producer Martin Socko Moukoko following his passing last year, this reissue stands as both a definitive archival release and a respectful tribute to his legacy in Cameroonian music.

Originally released on Atesa in 1987, Esa is a pristine encapsulation of the "Paris Makossa" phenomenon. In the mid 1980s, Cameroon’s finest musical minds migrated to Parisian studios, cross pollinating traditional rhythms with cutting edge European studio electronics and Antillean Zouk sensibilities. At the absolute center of this movement was visionary producer Martin Socko Moukoko. The album is driven by the dancefloor anthem 'A Muto', which showcases a brilliant fusion of horn heavy Makossa and slick Antillean Zouk. Across the five other expansive, spiritual tracks, the sonic template expands significantly. Striking a perfect balance between the urban, brass led grooves of Douala Makossa and the fast, driving, syncopated polyrhythms of Cameroonian Bikutsi, the LP delivers a unique rhythmic energy. These traditional backbones are seamlessly laced with Martin Socko Moukoko’s advanced studio programming, bubbling digital synthesisers, slinky slap bass, and rich, layered harmony vocals.

By bringing the full LP back into print alongside Martin Socko Moukoko’s family, Isle of Jura ensures that his musical legacy is preserved, allowing this timeless intersection of Cameroonian tradition and electronic innovation to be heard exactly as it was intended.

A 180 gram pressing in a 3mm full sleeve designed by Bradley Pinkerton.

Mario Batkovic’s music occupies a singular space between composition, performance and sonic experimentation.
Based in Bern, Switzerland, the composer, accordionist and multi-instrumentalist has developed an intensely personal musical language rooted in a radical interrogation of the accordion — its timbre, mechanics, physicality and rhythmic potential. In Batkovic’s hands, the instrument becomes something far beyond its conventional role: a source of intricate, evolving sound in which performer and machine appear to become one.
Batkovic received International critical acclaim when his eponymous debut album was released on Invada Records in 2017, with Rolling Stone listing it in the top 10 avant-garde albums of the year. ‘INTROSPECTIO’ followed, a self-questioning, self-examination of society which featured collaborations with Colin Stetson, James Holden and Clive Deamer (Radiohead / Portishead).
II sees Batkovic venture further into radical, uncompromising and experimental territory, both in the reduction and the expansion of sound. Voices overlap, rhythmic structures develop an almost mechanical force, and layers of sound evoke analogue synthesizers. Then everything falls away: near-total silence, the breath of the bellows, a single frequency. Sounds emerge that can barely be traced back to any particular instrument.
The album is built entirely around the physical relationship between one musician and one instrument. No loops, no electronic layers. Everything you hear comes from an uncompromising exploration of the instrument itself. A primal force of creation and destruction.
With credits that include music for the global hit game 'Red Dead Redemption II’, commissions for AMI Paris, Cartier Fondation, Hugo Boss, Chanel and film scores ‘Mad Heidi’ and ’Shame and Money’ his compositional work has extended into some of the most distinctive fields of contemporary culture.

Heir to French Touch, French 79 opens a radical new chapter with his fourth album, Close to the Giants. For this project, French 79 relocated his studio deep into the wilderness, standing alone against the elements from high alpine peaks to the open sea. Armed with a portable modular synthesizer, he composed the entire album in the very heart of nature.


Fueled by the raw adrenaline of the elements, French 79 translates the intensity of his emotional journeys into a raw, moving electronic language—navigating from electronica to dance and tech-house, by way of electropop and French Touch.


Far more than an album, it is an intuitive, intense, and compelling logbook of a quest for solitude and human experience, honoring the legacy of French electro pioneers through signature analog arpeggios, hazy synths, and spellbinding melodies.

Cardinal & Nun is back on L.I.E.S. with a new 12 track double lp "SCARS"

Here we get the French artist in top form going full on heads down darkwave on this record with his song writing taking a new twist. These are catchy gothic almost synth-pop arranged tracks reminiscent of some of Sheffield's and Manchester's finest, and driving enough to move the floor peaktime at the Batcave as well. Head right to the b-side for "It Doesn't Change The World" featuring Andrew Clinco, of Drab Majesty, which is a perfect slice of down trodden bass driven shoegaze with Clinco's signature vocals stamped all over it. The title track "Scars" follows, going right into new wave pop territory as well, extremely catchy and moody vocals scattered throughout. A stunning album that works for the desolate days alone whether the moon is up or the sun is going down...beautiful and powerful.

featuring the complete 17-track deluxe edition available on vinyl for the very first time, plus additional rare bonus track "Stay With Me Baby", making this the definitive edition for collectors and fans.

featuring the original 10-track album

GERDie Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition.[ENG]The Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.

Das fünfte Studioalbum von Psychic Ills, ,Inner Journey Out", feiert sein zehnjähriges Jubiläum. Ursprünglich erschien es 2016 als erstes Album der Band seit ,One Track Mind" (2013) und gilt als Höhepunkt einer dreijährigen Odyssee des Songwritings, die die Psych-Rock-Landschaft durchquert, die Psychic Ills im Laufe ihrer Karriere geprägt haben, während sie inspirierte Ausflüge in Country, Blues, Gospel und Jazz unternahmen. ,Inner Journey Out" begann so, wie viele Alben von Psychic Ills: mit den Demos von Frontmann Tres Warren. Wie bei allen ihren Alben ist Elizabeth Harts Bass das Bindeglied, das alles zusammenhält. Eine ganze Reihe von Musikern und Sängern - darunter Hope Sandoval von Mazzy Star, die beim Duett der Lead-Single ,I Don't Mind" mitwirkt - begleiten die Band auf dieser Reise. Dies ist zudem das erste Album, auf dem der Tour-Keyboarder Brent Cordero zu hören ist; sein Spiel auf Farfisa und Wurlitzer zieht sich wie ein roter Faden durch das Album. Diese Musiker bilden den Rahmen, auf den Warren seine verträumte Gitarre und seinen Gesang legt. Eine endlose Reihe von Freunden und Gästen beteiligt sich am Geschehen und steuert Pedal-Steel-Gitarre, Blasinstrumente, Streicher und Hintergrundgesang bei, was in einem karriereprägenden Moment für die Ills gipfelt. Thematisch ist ,Inner Journey Out" eine detaillierte Erkundung des Inneren und des Äußeren sowie des Weges zwischen beiden. Das fokussierte Songwriting sorgt dafür, dass sich die stilistischen Abweichungen nahtlos in das vielseitige Ethos der Band einfügen. Die mitreißende Gospel-Psychedelia von ,Another Change" und ,Baby" sowie die abgedrehte Free-Jazz-Erkundung ,Ra Wah Wah" tragen dazu bei, ,Inner Journey Out" zu einem facettenreichen, umfassenden Albumerlebnis zu machen. Abgesehen von dieser Weite ist es auch das persönlichste Album der Psychic Ills, das verlockend auf Liebe und Verlust anspielt, dem Hörer aber keine Auflösung bietet - es stellt Fragen, gibt aber nie Antworten; es sucht, kommt aber nie zu einem endgültigen Schluss. Stell es neben andere ,Drop-out"-Symphonien wie ,Ladies and Gentlemen We Are Floating in Space" von Spiritualized, ,Pacific Ocean Blue" von Dennis Wilson und ,Born to Be With You" von Dion - und lass deine Reise beginnen.

Die Chopi Timbila zählt zu den großen Orchestertraditionen Afrikas und ist tief in der Kultur der Chopi im mosambikanischen Distrikt Zavala verwurzelt. Ihre charakteristischen Mwenje-Holzxylophone sind in sieben gleichmäßigen Tonabständen gestimmt und erzeugen eine mikrotonale Klangwelt, die sich deutlich von westlichen Tonsystemen unterscheidet. Die Ensembles vereinen Musiker verschiedener Generationen und Erfahrungsstufen, während jährlich neue Kompositionen entstehen, die Gemeinschaft, Geschichte und das Leben der Vatxopi widerspiegeln. 2008 wurde die Tradition von der UNESCO als Immaterielles Kulturerbe anerkannt und gilt bis heute als eine der komplexesten und schönsten musikalischen Ausdrucksformen Mosambiks. Mit Ecos Do Legado (Echoes Of The Legacy) ehren die Brüder von Timbila Ta Venancio, allesamt Söhne des legendären Timbila-Meisters Venancio Mbande, das Lebenswerk ihres Vaters und die kulturelle Bedeutung der Chopi-Musik. Die 2026 im Studio Bom Dia in der Provinz Inhambane entstandene Aufnahme interpretiert Mbandes Erbe neu und bewahrt zugleich dessen Geist und Tradition. Die zehn Stücke folgen der überlieferten Reihenfolge einer klassischen Timbila-Aufführung und entfalten eine zusammenhängende musikalische Erzählung. Ecos Do Legado ist damit zugleich Hommage, kulturelles Dokument und eindrucksvoller Beweis für die lebendige Zukunft dieser einzigartigen Tradition. ENGThe Chopi Timbila is one of Africa's great orchestral traditions, deeply rooted in the culture of the Chopi people of Zavala, Mozambique. Its distinctive mwenje wood xylophones are tuned in seven equidistant pitches, creating a microtonal sound world markedly different from Western musical systems. Timbila ensembles bring together performers of different ages and skill levels, with new compositions created each year to reflect community life, history, and tradition. Recognized by UNESCO as Intangible Cultural Heritage in 2008, the tradition remains one of Mozambique's most celebrated and sophisticated musical forms. On Ecos Do Legado (Echoes Of The Legacy), Timbila Ta Venancio honors the legacy of revered timbila master Venancio Mbande through the work of his sons, who perform and reinterpret his enduring musical vision. Recorded in 2026 at Studio Bom Dia in Inhambane Province, the album serves as both a tribute to Mbande and a celebration of Chopi cultural heritage. The ten pieces follow the traditional sequence of a timbila performance, unfolding as an interconnected musical narrative. Ecos Do Legado stands as a powerful testament to a living tradition whose cultural significance continues to resonate across generations.

Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.

Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.

Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.

Martini Shot is the new album from Danny Scott Lane-a catchy, nostalgic and slightly manic collection that feels a little like one drink too many. Moving between lounge, soul, indie pop and exotica, the record plays more like a mixtape than a single idea, with a distinctly '90s streak running through it.

Lane sings on seven of the album's ten songs, a departure from his largely instrumental past work, and plays drums and percussion for the first time alongside his usual synths, keyboards, guitar and bass. Longtime collaborator David Lackner contributes flute, joined by new collaborators Logan Hone on flute and Katie Jacoby on violin.

Martini Shot marks Lane's second release with Records We Release, following the well-received House of Alice. The result is loose, romantic, restless and a little unpredictable.

House and techno's most innovative improviser, KiNK, lands on Mutual Rytm X.

Offering four more thrilling dancefloor weapons, the iconic talent lands on SHDW's new Mutual Rytm X Series to deliver the label's second release.

Legendary Bulgarian artist KiNK is widely regarded as one of the most respected live acts on the global scene. He is a noted tech wizard who creates loops on the fly, crafts killer drums and never fails to hypnotise dancefloors. He has released on almost every influential label of the last 15 years and taken his unrivalled live show to all corners of the world, often drawing on those sets to bring aspects and inimitable qualities from his performances into his tracks. This innovative approach has helped to solidify his reputation as a groundbreaking figure, inspiring a new generation of musicians and producers, and he once again showcases precisely why he's in a league of his own here with a first appearance on SHDW's newly minted Mutual Rytm X.

'Unicord' opens up this new EP in thrilling fashion with sleek, Detroit-style synth loops flashing up top as the heavy, pounding while warm drums drive things down low. 'Quantum Shake' brings 90s energy with new school sound deists - the dubby drums are fast and urgent, the synth craft is deft, and the percussion adds texture to a straight-up but sophisticated techno anthem. 'Pitch Down' then brings fantastically unhinged synth leads that spray and zip about the mix to boggle the brain. Rattling percussive loops and chunky drums keep things moving as those synths get even more wild. To close, the digital bonus 'Highpass Lowpass' is a masterfully muscular cut with rugged bass and taught synths interlinking to mind-melting effect.

2026 Repress

Swedish talent Dold drops nuanced techno cuts on 10" via SHDW's Mutual Rytm X.

Stockholm-based Patrik Eriksson, aka Dold, is a cultured producer known for crafting hypnotic loops with a minimalist, emotive touch-bridging underground dancefloors and introspective listening.

As a DJ, producer, and co-founder of Arsenik, Dold has championed raw, unembellished techno since 2015. His releases on Key and Fuse blend Detroit techno's legacy with IDM's intricacy and ambient's ethereal tones, creating a style that is both timeless and forward-thinking. Whether it's crafting tapestry's recorded via hardware in the studio or performing live, Dold continues to innovate, honouring techno's roots while exploring its future, and his talent is on full display across his label debut on Mutual Rytm X.

'Grainy' opens the EP and showcases Dold's ability to craft deep and loopy techno with a stripped-back, emotive
edge. It's deft but enthralling, with innovative synths rising and falling through the minimal drums. 'Surface' is another compelling deep cut with hurried drum funk and subtle synth pulses, adding a futuristic edge to the groove. The fantastic 'Blush' brings smears of warm synth and machine soul to a dynamic dub techno rhythm that bends the
past with the present. Digital bonus cuts 'Dub at Heart (Club Version)' and 'Dub at Heart (Sofa Version)' offer
contrasting perspectives of the same track, with the first aiming directly for peak-time sessions, while the latter closes the package on a laid-back tip.

10" series

Exos inaugurates the new sub-label on SHDW's Mutual Rytm with four 90s techno cuts, with offshoot imprint X building on the main imprint's DJ-friendly tools to delve deeper into a broader spectrum of electronic music.

Founded in 2022, SHDW's Mutual Rytm label has quickly become one of techno's most supported labels, with wide-reaching love and well-earned hype following a series of carefully curated VA offerings and solo EPs from a wealth of the scene's best. Continuing to push the pace, with more records capturing high-quality, fresh soundscapes, April brings a new project to the mix with the launch of a new sub-label X, with techno pioneer Exos drafted to deliver the first instalment.

Hailing from Iceland, the Planet X boss is a master of crafting perfect dancefloor weaponry. Over the last twenty years, his high-octane sounds have come via vital labels like Figure and X/OZ, never failing to make an impact with both DJs and dancers. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s sound, and he brings this signature sound to four fresh productions across his 'Infrared' EP, marking an impressive debut for both label and artist.

The title cut 'Infrared' opens up the package in style and showcases a track that looks set to be a go-to anthem for many in the months ahead. With searing synth lines and drilling bass, the blistering production delivers a thrilling, high-impact techno sound that will devastate the dancefloor. The well-designed 'Kaldur Klaki' ups the ante even more with tightly coiled loops of drums, rusty hi-hats and stuttering synth lines that canter along with a muscular feel. 'The Bad' is twitchy and paranoid, anxiety-riddled techno that is perfect for dark warehouses and freaky dancers before digital bonus 'DS4BR' lands with a more stripped-back aesthetic with dubby undercurrents and static electricity fizzing across the face of the cut.

Each of the releases on Mutual Rytm X will be available on limited edition, coloured 10" vinyl, hence the Roman numeral X, and Exos' 'Infrared' EP kicks off the series on 19th April ahead of a new wave of killer releases scheduled across 2024.

Nach der erfolgreichen Veröffentlichung von Greatest Hits & Remixes Vol. 1 mit den beliebten Extended Versions folgt nun die passende Ergänzung: Greatest Hits & Remixes Vol. 2 – Radio Versions. Diese Zusammenstellung präsentiert die größten Hits von Fancy in ihren originalen, kompakten Singleund Radio-Versionen.

Mit internationalen Klassikern wie „Flames Of Love“, „Slice Me Nice“, „Bolero (Hold Me In Your Arms Again)“, „Lady Of Ice“ und „Chinese Eyes“ vereint das Album jene Songs, die Fancy zu einer der prägendsten Figuren der Euro-Disco- und Synth-Pop-Szene der 1980er Jahre machten. Ergänzt wird die Sammlung durch weitere Fan-Favoriten wie „China Blue“, „Fools Cry“, „Angel Eyes“ und „Long Way To Paradise“.

Greatest Hits & Remixes Vol. 2 – Radio Versions bietet die perfekte Möglichkeit, diese zeitlosen Hits in ihren eingängigen Originalversionen zu genießen – ein Muss für Fans von Fancy sowie für Liebhaber klassischer 80er-Jahre-Pop- und DiscoMusik

After a longer pause, CMOK returns with a new release built around different shades of dancefloor music that don’t really fit into one strict direction. Four tracks moving through elements of progressive, acid, electro and breakbeat, shaped for different moments and spaces, but still connected by the same feeling underneath.

Die erfolgreiche „ZYX Italo Disco: Best Of“-Reihe geht in die nächste Runde und präsentiert mit Vol. 8 erneut eine erstklassige Auswahl an Italo-Disco-Klassikern der 1980er Jahre. Auf dieser Doppel-LP erwarten den Hörer 14 sorgfältig ausgewählte Tracks, die den unverwechselbaren Sound der legendären Italo-Disco-Ära widerspiegeln.

Mit dabei sind beliebte Genre-Highlights wie J.D. Jaber‘s „Don‘t Wake Me Up“, Alan Ross‘ „Valentino Mon Amour“, Brian Ice‘s „Night Girl“ oder Cyber People‘s „Doctor Faustu‘s“. Ergänzt wird die Compilation durch weitere seltene Maxi- und Extended-Versionen, die bis heute auf Tanzflächen und in DJ-Sets weltweit geschätzt werden.

„ZYX Italo Disco: Best Of Vol. 8“ verbindet eingängige Melodien, atmosphärische Synthesizer und den typischen Charme der goldenen Italo-Disco-Zeit zu einem authentischen Hörerlebnis – ein Muss für Fans, Sammler und Liebhaber klassischer Dance-Music.

UK-based reggae veteran Macka B takes listeners on a journey back to the roots of Jamaican music with the release of his new single, “Memories.”

Recorded over the powerful Diverse Doctrine Riddim, “Memories” is a tribute to the golden era of reggae, celebrating a time when Roots Reggae dominated the dance halls and the term “dancehall” referred to the sound system sessions rather than the genre it would later become.

With enthralling lyrics and authentic reggae instrumentation, Macka B reflects on the lively dancehall culture of the 1970s—a period when conscious roots music, militant messages, heavyweight sound systems, and spirited community gatherings defined Jamaica’s musical landscape.

Known for his commitment to positive reggae music and socially conscious storytelling, Macka B once again delivers a recording that honors the genre’s legacy while resonating with longtime reggae enthusiasts and new listeners alike.

Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.

Label founder DJ Scientist tells the story of how the tracks were uncovered:

"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.

Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)

Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.

Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"

To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.

When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.

The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!

Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.

The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.

The vinyl edition is limited to 400 copies.

2026 Repress

Macedonian artist Stojche kicks off Mutual Rytm Xs 2025 schedule with his blistering new EP, Stomping Ground.
Stojche is an exciting DJ and producer from Skopje, Macedonia, who is currently based in Madrid. He heads up his Tangible Assets imprint and has been making waves in the electronic underground for over 20 years. His music takes inspiration from the classic sounds of Detroit and dub techno, and in 2024, he impressed with his Metaphor EP on F.U.S.E. Following on from his superb contribution to Mutual Rytms Federation of Rytm II compilation, here, he now serves up his first EP of the year with a first outing on X, the sister label of SHDWs Mutual Rytm, w Stomping Ground.

This EP opens up with the powerful Stomping Ground, a scintillating blend of tightly programmed kicks and reverberating percussive lines. The textured percussion shimmers over the racing beats and cannot fail to sweep dancers off their feet. Oberheim is another high-class, high-impact sound with muted melodies thinking over the twisting and turning drums and bass which never let up and ooze warm machine soul. Consequence keeps the pressure on with tight drums and raw percussive layers softened by smeared dub chords. Digital bonus The Vault shuts down with thumping kicks and rave ready synth stabs that will erupt on peak-time floors.

Another long-awaited vinyl shaped through time, pressure, and careful listening. On this record, Spinnski, Ian Oskadev, and CLGR each bring the maximum of their craft, pushing their sound until it holds up under the toughest real-world testing. Airy textures, rolling low-end, sharp rhythmic structure, and hypnotic elements come together into a sound that feels both controlled and alive. Every detail has been checked, adjusted, and refined with precision — not just for the studio, but for real systems. This is a record that translates everywhere, from small rooms to large dancefloors. VAM14 stands as another carefully built piece in the catalogue — balanced, warm, and fully functional. A release shaped with attention, experience, and respect for the sound.


Kashatskikh Studio Mastering
Design & Illustration by Kirill Kashatskikh

Mount Kimbie’s forthcoming contribution to the acclaimed fabric presents series marks one of the duo’s most dancefloor-focused bodies of work in years. More than simply a release on fabric Records, the project sits within the revered fabric presents mix series, placing Mount Kimbie alongside artists such as Daniel Avery, Midland, Helena Hauff and Overmono, artists who have each delivered defining entries for the series.

Leading the project is first single “Monroe”, a warm yet uplifting club track that unfolds gradually through loose percussion, driving synth work and subtle vocal fragments drifting in and out of the mix, adding flashes of emotion without interrupting the track’s momentum. An ode to their 2017 hit ‘Marilyn’ featuring Micachu, the track carries elements of the original throughout, with flourishes over reverb washed vocals that float around you amongst driving drums and bass. There’s a summery energy running throughout the track, making it equally suited to late-night club systems and open-air festival stages.

Long celebrated as pioneers of the post-dubstep and future garage movements, Mount Kimbie continue to evolve beyond genre boundaries while maintaining the unmistakable sonic identity that has made them one of the defining acts in UK electronic music. Their contribution to the fabric presents series captures the duo at their most refined and exploratory, without losing the emotional atmosphere and understated intensity that has always defined their work.

Released as part of the prestigious fabric presents series via fabric Records, the project signals a bold new chapter for Mount Kimbie.

Pure Motorised Instinct drives over to Dark Entries with At Last I’m Leaving the Earth, an LP of industrial-tinged ambient and new age. When legendary industrial outfit Nagamatzu went dormant in 1991, band member Stephen Jarvis moved forward with Pure Motorised Instinct, a name he pulled from a line in George Romero’s Dawn of the Dead. Throughout two cassette albums - 1991’s Between Intimacy and Elsewhere, and 1993’s Everything Is True - Jarvis pushed the Nagamatzu spirit in new directions. At Last I’m Leaving the Earth collects 9 tracks from this era, which are appearing on vinyl for the first time, along with 3 additional tracks on a bonus CD. The material here sits between the brooding and the optimistic, the claustrophobic and the soporific. Jarvis’s digital synths are pushed so far into tape-scuffed terrain that they talk and squawk analog-like, scurrying with vibrant curiosity. The late-night vibes peak on pieces like “Vincent V,” with its reverb-drenched digital drum machines, or “Geek,” which taps into a wide-eyed proto-vaporwave zone.    At Last I’m Leaving the Earth is Black Lodge ambient for the empty set. 

Edgar debuts on Dark Entries with Pavor, an 11 track LP of sleazy disco, warped synthpop, and gothic cumbia. Veteran musician Luis Gutierrez has spent the past two decades touring in bands, running Lalalandia Studio, and building his practice in Oakland and Guadalajara. But now, for his first solo outing, he has become Edgar, a pop star who knows no limits! “Edgar feels mightier than anyone but is always reduced to his vices” says Gutierrez, and Pavor delivers vices in spades. From the opening salvos of “Otra Agua,” it’s clear we’re in for a wild ride: seasick synths slide along slamming disco beats, menacingly chanted vocals sit amid a flurry of careening horror movie samples. The mischief does not abate as we’re guided through a demented funhouse of genre detournements.

Edgar puts his indelible fingerprints over every inch of this vinyl, from uptempo numbers like the spooky chip-tune frenzy of “Nunca Mas” to the twisted cumbia of “Panteon.” We’re even treated to a fairly faithful (and majestic) Spanish-language cover of Amanda Lear’s “Follow Me,” here titled “Sigueme.” EBM, space disco, and horror movie soundtracks all find their way into the mix on Pavor, but the diverse palette comes together perfectly, like a Yello album for the 21st century. Pavor comes housed in a sleeve designed by Eloise Shir-Juen Leigh and features a photograph by Izaak Schlossman. Also included is an insert with lyrics and notes. On Pavor, Edgar brings us a healthy dose of pure excess, reminding us that dread can be a hell of a lot of fun.

Ruf Kutz reaches release twenty-two with something close to heart...

Mike Kee is a face from the early days - red-lit rooms of the Bodega mushroom squat parties in Sydney. This is a second release for Mike Kee on Ruf Kutz since 'Seeing Crystals' on RK2 in 2010.
Recorded in the rainforests of Bundjalung Country (northern NSW, Australia). Making good use of a Fender Rhodes and a JX-8P synthesiser.

WHITE CLOUD PLACE is a destination that doesn't exist. Glimpsed once on a street sign, filed away in the imagination and allowed to bloom into an imagined geography of warmth and weightlessness.
The music is lush dream house that elicits euphoria out of the speakers and into the body. Mike Kee has been chasing this feeling across his music and here it lands cleanly.

Flip the record and the temperature ratchets up. BANANA MOON is one for the dancers - shuffling congas push the pace while Rhodes chords and those big analog synth strings hold the whole thing aloft.

Where the A-side invites you to float, Banana Moon keeps it pitched up and jazzy.

Outer Place Records proudly presents its seventh vinyl release: Jungle EP by Kamyar Keramati with included a remix from Domenico Rosa . A sonic expedition through intricate rhythms and emotive textures, this EP marks a significant chapter in our label's journey. Berlin-based Iranian producer Kamyar Keramati delivers a compelling four-track EP that traverses the realms of techno, breakbeat, and ambient soundscapes.

A1. "Jungles"
An immersive opener that sets the tone with layered percussions and atmospheric depth, inviting listeners into a dense sonic forest.

A2. "Sakhiff"
A rhythmic journey blending intricate beats with subtle melodies, showcasing Keramati's prowess in crafting dynamic electronic narratives.

B1. "One For All"
A unifying track that melds diverse sonic elements into a cohesive whole, reflecting the EP's complete theme of interconnectedness.

B2. "Jungle (Domenico Rosa Remix)"
Italian producer Domenico Rosa reinterprets the title track, infusing it with his signature minimalistic but techno flair, adding a fresh perspective to the original composition.

Each track demonstrates Keramati's ability to weave complex rhythms with emotive undertones, creating an EP that resonates on both the dancefloor and in introspective settings. Visual Identity by Henrik Delehag Complementing the auditory experience, the EP features cover art by Swedish artist Henrik Delehag . Known for his distinctive black-and-white iconography, Delehag's work explores the interplay between chaos and harmony. His art distills complex realities into symbolic forms, providing a visual narrative that mirrors the EP's sonic journey.

This collaboration marks the beginning of an ongoing partnership, with Delehag set to design all future vinyl covers for Outer Place Records. His unique artistic vision aligns seamlessly with our label's vision, enhancing the holistic experience of our releases.

Jungle EP is more than a collection of tracks; it's a curated experience that fuses sound and visual art.

Available soon on vinyl and digital platforms.

2026 Repress

10 years in the game is a landmark moment worth celebrating and one that Good Vibrations Music is proud to be hitting in 2026.

Loved & highly respected globally, Sean McCabe’s trend setting label has been constantly delivering its high standards of music for a decade and felt it rather fitting to turn a spotlight across its catalogue with a nod towards some of the biggest & best releases across the label to date.

Refusing to be pigeon-holed but sitting comfortable across all things soulful & deep, this lovingly curated look-back by Sean himself is sure to introduce tracks from the archives to newcomers as well as reinforce much loved classics to existing fans alike.

Featuring a collection of talent that includes Sean McCabe, Frankie Feliciano, Lem Springsteen, Mr. V & Kaidi Tatham, Decade One is a prestigious moment for the label..

With BALADA, MoBlack continues this journey through a collection of tracks rooted in Afro House rhythms and Brazilian-inspired influences. Across four distinct productions, the compilation explores the meeting point between percussive energy, expressive vocals and melodic detail, highlighting artists who approach the sound from different angles while sharing a common sense of groove and atmosphere.

Should you happen to have been paying attention to progressive house and trance in the mid 1990s, you may well be familiar with Brendan McCarthy's most celebrated release as Aquartherium, 1994's Full Moon EP. It was a massive record across Europe but also found favour in San Francisco's freewheeling free party scene. 'Full Moon' itself is especially potent - an all-action chunk of hallucinatory progressive house/trance fusion full of star-burst synth motifs, bubbly electronics and ambient techno sonics - though the heavier, bleep-sporting, Brown Album-era Orbital flex of 'Luci In Deep Hypnosis' is just as good.

Few contemporary labels even come close to the output and influence of Lempuyang in terms of dub techno. Albums, 12"s and EPs come thick and fast and the latest is the first part of the fourth in the Pura Lempuyang series, which offers a glimpse at what they do best. Upwellings begins with Maurizio-style, smoky dub techno before Rothchord ups the drive with a more forceful kick. Paul Simmons's 'Burial (Natty Haffi Dread)' reflects the traditional roots of dub with a more 70s style cut, Another Channel slows to a crawl with an eerily empty arrangement and Inner Echo drives things home with a timeless fusion of molten dub chords and cuddly kicks.

Hard-hitting limited 7” floppy disk by West Coast beat maestro Mophono, mashing up two 8bit mini epics by disrupt and shooting them into outer space.

“Budokan Dub” is the instrumental cut of Roger Robinson’s “Bristol Crystal” from the Jahtarian Dubbers Vol. 6 compilation: a bass heavy mutation of Rob Hubbard’s 1989 fighting game soundtrack, re-worked by disrupt on a DIY commodore synth, with added extra rocket fuel by Mophono, cranking the psychedelics up to eleven.

Made with the same DIY synth, “Proper Tings version” on B is based on the original riddim track for Tikiman’s “Who Goes There”. Mophono now sent it through the cosmic slice machine, turning it into a deadly sound system rattler, designed to take the roof off at those very special moments.

Coming with the additional beat tool “Dub Form Creator” and a nice’n’gritty floppy disc sleeve this crucial little data package is not to be missed!

Two years after Introducing, this 1977 release—the second installment in Toshiba EMI’s acclaimed “Pro Use Series”—returns on clear green vinyl.

Joining the returning rhythm section of Shuichi “Ponta” Murakami (drums) and Ray Ohara (bass), percussionist Nobu Saito and others further strengthen the album’s rhythmic foundation. Highlights include the classic “Left Handed Woman”, where Jun Fukamachi explores new possibilities for the analog synthesizer while engaging in electrifying solo exchanges with the song’s composer, Kenji Ohmura, as well as “Take It Easy Mr King Kong”, which makes inventive use of a talk box.

More accessible, more thrilling, and even more refined than its predecessor, this album stands as a superb showcase of Fukamachi’s evolving musical vision.

A pioneering keyboardist of crossover music in Japan, Jun Fukamachi recorded and released this hidden masterpiece of the early Japanese fusion era in 1975 as part of Toshiba EMI’s audiophile-oriented high-fidelity analog “Pro Use Series”.


Now, it returns on clear red vinyl.

Backed by a powerhouse rhythm section consisting of drummer Shuichi “Ponta” Murakami and bassist Ray Ohara, Fukamachi showcases a rich palette of analog synthesizer sounds, while Kenji Ohmura delivers breathtakingly intense and fluid guitar solos.


The centerpiece of the album is the approximately 14-minute jazz-funk epic “Bamboo Bongo”, a standout track that perfectly captures the virtuosity and adventurous spirit of this landmark recording.

Iconic Argentinian DJ/producer Flug drops full EP on Mutual Rytm Raw with ‘Dew At Night’. Flug, aka Sebastian Lopez, has long been part of the fabric of underground techno with a signature sound that is deep, driving and atmospheric, ensuring that the Argentinian has crafted his own story across the globe. Following his track ‘In Control’ on Mutual Rytm’s ‘Federation Of Rytm IV’ compilation, he follows the likes of KiNK & Raredub and Deetron to make his appearance on sub-imprint, Mutual Rytm Raw, with his ‘Dew At Night’ EP featuring a rare rebuilt version of an unreleased sketch dating all the way back to 2009. ‘Dew At Night’ was unearthed while searching for another track among sessions from over a decade ago. After hearing it again, it sparked a new creative age to rebuild it from scratch, and while experimenting with synthesisers, the main arpeggio appeared. "At first it was hypnotic but harmonically repetitive; the groove and phrasing felt incredibly catchy, so I decided to push the harmony further and change some chords until I found the exact point where emotion and tension could coexist naturally.” Around that bright arp are darker, more raw percussive textures and drums that make for a great contrast and melancholic atmosphere that marries emotion with physical structure. "In my mind, the track was always conceived as a closing track - that moment when the darkness is still there, but the first light of the day starts to appear and the whole atmosphere changes.” After hearing the original, label founder SHDW suggested the Argentinian should remix and reinterpret the record to complete the full EP, and so he steps out of his comfort zone across the remaining tracks, exploring different versions of his musical universe and showcasing all sides of his sound. First up is the ‘Dub Version’, which represents his contemporary sound - the melodic and emotional essence of the original track remains but is translated into a more hypnotic and club-oriented language. The ‘Instrumental Version’ is a brings more progressive-leaning sounds with piano, sax and live percussion textures that, says the artist, allowed him to "rediscover myself as a producer by using tools and influences gathered throughout my long journey in electronic music”. Closing the package, the digital-only ‘Raw Version’ strips away the melody and gets much more primal, introducing a tunnelling groove for when the dancefloor gets dark and moody.

Originally released in 2006, John Acquaviva presents Swen Weber's ‘First Stroke’ returns on Secret Weapon Records with a
brand new remix from Luca Lozano. A defining Electro House record of its era, built around its instantly recognizable synth
theme, now gets a sharp 2026 update as Lozano moves the hook onto a break-driven groove, adding playful bass movement
and a futuristic vocal touch.
The remastered original is included on the flip, preserving one of the standout club records from the mid-2000s Electro House
boom.

12"

MONSKI´S SOUND FEELS LIKE A 90s SKATEVIDEO ON VHS - ELECTRONIC, WARM AND LOVINGLY HANDMADE. IMPERFECTIONS WELCOME.
THE MAIN INSTRUMENTS DOUBLE BASS, GUITARS AND ANALOG SYNTHS MELT WITH INTENSE ELECTRONIC RHYTHMS TO DEEP AND HYPNOTIC GROOVES - INSTRUMENTAL AND MOSTLY DOWNTEMPO.
MONSKI EARNS HIS MUSIC GEAR BY SHOOTING FILMS - NO WONDER HIS SOUND IS OFTEN DESCRIBED AS CINEMATIC. INSPIRED BY VISUALS - ESPECIALLY BY CAPTURED PERSONAL MOMENTS WHICH OFTEN TURN INTO HIS RELEASES´ ARTWORK. IT´S HARD TO PUT THIS EP INTO A BOX - ITS UNIQUE STYLE HOVERS SOMEWHERE BETWEEN ORGANIC DOWNTEMPO, TRIP HOP, FOLKTRONICA AND HOUSE.

ENDUROS - 6 TRACKS OF MONSKI´S RAW SIGNATURE SOUND:

ROLLER: THE MOODY DRAGGING TRIP HOP GROOVE (88 BPM) STARTS DEEP AND REDUCED BUT RESOLVES INTO A WIDER CINEMATIC HARMONY OF SYNTHS AND STRINGS.

ENDUROS: EVOLVING FROM ELEMENTS OF ROLLER, IT SPEEDS UP TO 120 BPM AND ENTERS THE REALMS OF ORGANIC HOUSE / FOLKTRONICA. AN UNPOLISHED HANDMADE BEAT WITH DRIVING BASS AND GUITAR RIFFS, CULMINATING IN A MELODIC CLIMAX.
FUNZEL: ORGANIC DOWNTEMPO ELECTRONICA (100 BPM). WARM AND SOFT SYNTH CHORDS AND A SAX SAMPLE ADD A JAZZY FEEL TO THE RHYTHMIC FOUNDATION OF DOUBLE BASS, GUITARS AND PERCUSSION.
ADDITIONALLY THE EP ROUNDS UP THE ALREADY RELEASED TRACKS: RADIO BEAMER, ELECTRIC BOX, AND QUARTZ.

MTMS2 - Mystica Tribe Meets Scopeotaku 2 Following the duos first release - Mystica Tribe Meets Scopeotaku on 13/Silentes. Mystica Tribe and Scopeotaku push their collaborative adventures further with MTMS2. Creating psychedelic dubs with rich textures, tape saturation and echo chambers. Utilising acid synths combined with deep dub rhythms and melodic electronics evolving into a new dimension of dub. Deep psychedelic electronic steppers blend with bass pressure and heavyweight rhythms drifting into techno, ambient and mutant dub. Creating a sonic adventure where tradition is often pushed into unfamiliar territory. Two distant worlds, one frequency. Nine tracks for the mind and body. Deep dub frequencies. Psychedelic textures. Heavyweight rhythms. —————————

Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors.

Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub.

Volume Six in the ongoing saga of the Jahtarian Dub mothership, full of 8-bit explosives, cosmic curveballs and sound system heavy hitters.

Roger Robinson teams up with West Coast beat maestro Mophono (watch out for the limited 7” instrumental “Budokan Dub”!), Maffi and Tapes return with mutated killer riddims, Casio shaman Green Jesus is transmitting from the Polish woods, while The Other Others beam in alongside Daniel Monaco, followed by a special Dub cut from Elijah Minelli x Kiki Hitomi.

On the flip Bo Marley are back with a track previously only released on tape, S.NOVA spreads her haunting vocals over an Alien Trackers depth charge and Slim Levy dubs the Beatles into outer space.

There is more Dub love coming from the newly born Snorks outfit, disrupt appears with a beautiful spaced out hiphop track and Barcelona Dub heroes STA finish the journey with a super hypnotizing brain melter that will see an extended 12” version soon.

Subtle Beginnings is the second of the ReKab albums originally released on Móatún 7 to be reissued on vinyl for the first time by System One. Analogue Isolation came in May & sold out everywhere almost immediately

Label head D. Howard first came across ReKab while deep diving through Bandcamp, and like many lovers of deep, late night, soulful electronic music immediately fell for the emotional pads, pristine melodies & immaculate productions, simultaneously summoning up the essence of early 90s electronic while sounding thoroughly contemporary.

They connected and a plan hatched to make the Móatún 7 albums available on vinyl for the first time, something that avid record collector James was delighted about. Unfortunately James sadly passed away late August last year, but following conversation with the family & friends of James, it was decided to honour his wishes & make the albums available on vinyl & across all digital services once again. Proceeds after costs will be paid through to the trust fund set up to support James’ surviving son.

System One is a new label dedicated to soulful electronic music, late night grooves & intergalactic beats, drawing its inspiration from the early 90s techno & ambient sounds of Uk, Frankfurt, Detroit & beyond

2026 Repress
Efficient Space honours the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel’s self-released discography.

One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage—a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he cofounded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city’s house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma.

Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden—who supported The Beatles on their final UK tour and was signed to Decca and Columbia—the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release.

Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum—Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on 'On Release,' and Wicked Beat Sound System’s Kye on 'Poor Man Beggar Man Thief'. Meanwhile, 'Suicide Bomber' smoulders with the tension of a lost Muslimgauze relic, as the instructional 'Roll Up' and 'The Last Straw' spiral deeper into Omar’s signature production vortex— where space stretches in slow motion and walls reverberate with ricocheting delay.

A true icon of Sydney’s underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humour, wild anarchic personality, and enduring mantra: “Love and live your life”.1

Marwan’s debut on Gated finds the sweet spot between dub, deep, and ambient techno.

The focus is firmly on rhythm: layered percussion, spacious atmospherics, and slowly evolving textures that reveal a little more with every listen.

These are immersive, patiently crafted tracks that never lose sight of the dancefloor.

Tedere Onverschilligheid (which we think roughly translates as Tender Indifference) opens with evolving percussion and sweeping synth textures that gradually pull you under. Vrijheidsdromer settles into rolling bass, organic percussion, and subtle atmospherics, while Ik Ontdekte Sacramento Ezel begins with darker intent before opening into one of the EP’s more uplifting moments. Heldere Geest (Clear Mind) takes the scenic route, unfolding from fractured rhythms into a deep, hypnotic groove, before De Speech rounds things off with an expansive finale that feels equally at home closing a club set or carrying you through the last train home.

Five expertly crafted, highly mixable tracks that will slot effortlessly into deep sets, and quite possibly convince you that buying “just one more record” was always a sensible idea.

2026 Repress, Black Vinyl, Unicover
Johannes Albert brings back the iconic anthem that is "More Action Pleeease!". This time stretched across a full A-side, cut at 45 rpm for maximum punch and pressed on a weighty 180 grams. Built sturdy, loud, and ready to tear through any system. The full-cover artwork seals the deal, but the B-side brings the real twist: the Disco-House edit everyone's been craving (yes, exclusively on vinyl!). Dompe's "Lemon Ice" gets the full "Action" vocal treatment, transforming it into a guaranteed dancefloor riot. Finally - the complete "Actionpella" is attached for the hard-working DJs and the lazy ones alike. Now? More Action Pleeeeeeeeeeease!

2026 Repress

The undisputed Godfather of Boogie, Leroy Burgess’s Logg project is his grand masterpiece.

The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and so it’s a complete honour to be giving it our reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.

Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.

All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.

Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.

The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.

Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

RAWAX MOTOR CITY EDITION presents Skyline Systems - Falling Edge EP
Beatiful restrospective soundscapes from another Galaxy.
Highly recommended!

Stemming form the Saurus in NY Ep released in 1994, Sex Line is getting its own well deserved release and make over. The new EP contains the original mix re- mastered and a new mix made in 2020. Side B “I feel myself” previously unreleased (new recordings) was written while working on the original Sex Line project but did not make it in the original release by Muzak.

House is the Religion. The DJ is my Deacon. The Music is my God and James Bangura is cool af.

Genuine, passionate, clear, authentic and real…. He isn’t trying, he just is. And his music is the same. It’s fucking cool. It’s real and authentic and it just is James Bangura. So it’s a real honour to add him to the Shall Not Fade roster; from Techno to Jungle to House and everything between the DC native can extract the true essence of a genre and simultaneously make it his own & pay homage to its roots.

So on Jack Sermon there’s no surprise when he flexes a seemingly generationally inherited knack for all things House (and Techno) and delivers four tracks of raw, real, genuine House music. OG shit.

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‘House is the Religion, and the DJ is my Deacon, but the music is my God” says the Evangelical vocal on title track ‘Jack Sermon’. Never has there been a more aptly named track…This is a jack sermon… an OG inspired Chi town cut channeling early house music’s soulful beginnings delivered with straight up jacking house beat offset with laidback dusty dub chords….. We don;t say this lightly but we’re calling anthem on this one.

‘Scat Pack’ takes a more percussive and drum forward House motif. Thunderous kicks tease techno but this is still house, NY at heart complete with voguing diva vocals . Blown out and choppy we could say ‘this could have been ripped from a late 90’s club recording on a lost tape’ but that would do disservice to the precise but invisible fusion that's been laid down here..

‘Funk To Berlin’ opens the flip side and in Bangura’s journey to explore classic forms of house and techno, this track may well have taken root from Dub techno pioneers from the past. Deep dub chords and deeper subs lead the track but that jacking percussion makes this more than homage. Machine Funk, Machine soul. AA side business.

‘The Green Line’ closes out the EP in style.. rolling it out with skittering synths that work like percussion, ethereal pads and a faint vocal ‘Chicago’ spiralling into itself making this track one you can get lost in. Some might argue that this one is techno but who cares. It’s the journey not the destination. Two tickets please.

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If you don’t know James Bangura’s music already (or even if you do) do some digging.. Look for releases on Mister Saturday Night, K7! and Floorspeed and check his output as part of “Black Rave Culture” with Amal and Nativesun and as a member of Groovedeep with Toronto’s Ciel and fellow DC native Jackson Ryland.

To close, we’ll leave you with this note from James……. told he is cool af.

House music, to me, exists on a wide spectrum. I’m inspired by its many forms: stripped-back minimalism, percussive drive, hypnotic textures, and soulful undertones. Rather than confining myself to one approach, I treat each track as an exploration—testing structure, pushing rhythm, and allowing subtle details to carry emotional weight. The studio becomes a space where groove and atmosphere meet intention. This body of work highlights that process. It reflects how I balance technical precision with feel, tension with release, and tradition with forward motion. Every decision—from drum programming to spatial design—is part of shaping a sound that feels honest and instinctive. - James Bangura

The 6th VA for BOOOoo! is now available. Exploring deeper minimal sounds from Central America, the United Kingdom, and France, this marks the final VA under Bousti’s vision. Timeless tracks built to shake club sound systems and reward attentive ears.

Aural Imbalance returns to Curvature for the first time since the label’s very first release with an EP of stunning atmospheric and old school bliss. A1 - Ghosts of Midi - String Theory (Aural Imbalance remix) Kicking the EP off with a spirited remix of the immense Ghosts of Midi track String Theory, delicate padwork and subtle hats open proceedings before Aural Imbalance deploys a brisk, heavily chopped and spliced Circles break to drive the luscious atmospherics atop a deep, moody 808 bassline. Synths, pads and strings jostle playfully across the soundscape before the breaks fall back before we are treated to a blissful extended ambient outro. A2 - High Time Taking us right back to the early 90’s with crunchy, rustic amen breaks that immediately burst into the mix, Aural Imbalance flexes his old school muscle with a flurry of thumping, distorted breakbeats with an earthy analogue sub bass rumbling below. Synths and light strings add character and juxtaposition to the track to complete an enjoyable and very dancefloor friendly throwback classic in the making. B1 - Magnetism Chunky, belligerent breaks smash their way into a drum-riddled intro as Aural Imbalance unleashes an old school amen workout for the ages. Punctuated by cheerful, swirling sounds of sonic phosphorescence, the drums are chopped and filtered liberally as an earworm melody works its way into the mix. Magnetism is a perfect example of how old school breakwork and atmospheric ambience are such a perfect match. B2 - Night Vision Switching things up with a more introspective vibe, Night Vision sees Aural Imbalance opening with trancey synths before thick drums with metallic snares and dense kicks are introduced - carefully and elegantly arranged with a thoughtfully constructed pattern. The synths continue to surf the audio waves with deep 808 bass accompanying the beats and micro melodies layering throughout.

Proto Exotica notches its third release with The Infinite Hum EP , the debut project from Melbourne producer Mateo Torres Rodriguez under his new alias: Cerro.

Cerro is a personal and transportive collection of recordings owed to four months in Colombia, where Mateo returned to the neighbourhood he grew up in. On a table in his childhood home, he set up a modest travelling studio with a small collection of analogue hardware. At times, he'd pack individual pieces of
gear to travels within his travels, working without a fixed room or routine.

And so from a drum machine, a monophonic synth, a polyphonic synth, a laptop, and a pair of headphones (but no speakers) came five tracks of dub-inflected house and cosy Balearica.

The EP opens with 'The Bright Side' , dub bass, warm analogue pads, housey tempo. 'Unending Journey' slows things down, its deep low-end holding space beneath a synth that drifts in and
out.

'Power Of The Small' brings a dreamy house melody alongside a dubbed-out analogue lead, the filter opening and closing as the track breathes. On the B-side, Andras remixes 'The Bright Side' , keeping the bounce and weaving a jazzy lo-fi Rhodes solo through it. The EP closes with 'Indubitably' , dubbed-out vocal samples and floating pads settling into a downtempo Balearic lilt.

Luca “DJ Rocca” Roccatagliati isn’t just a producer, he’s a shapeshifter of sound. Emerging from the late ’90s under the Maffia Soundsystem alias, he’s spent decades bending genres, dissolving boundaries, and reconfiguring the DNA of club music.

From cosmic disco to leftfield house, Rocca’s catalogue reads like a map of underground excellence. He’s collaborated with a roll call of innovators—Howie B, Dimitri From Paris, Daniele Baldelli, François K, Jazzanova, Zed Bias and many more. Crafting releases for some of the most respected imprints in the game: like Rekids, Toy Tonics, International Feel, Defected, Rush Hour, Hell Yeah, Rotters Golf Club among others.

His output is prolific, restless, constantly evolving.

Partnership is central to Rocca’s universe. With Dimitri From Paris, he co-created Erodiscotique, a sleek electro-disco project that fuses vintage sensuality with future-facing production. Alongside Daniele Baldelli, he’s explored deeper, more psychedelic terrain, delivering albums like Podalirius and Quagga—records that blur the line between Balearic mysticism and dancefloor propulsion.

His aliases Ajello, Supersonic Lovers, Crimea X are parallel auditory dimensions. Each one pushes a different facet of his sound, from Italo-tinged grooves to raw, analog-driven club cuts. As a remixer, Rocca has reworked everyone from Andrew Weatherall to Soul Clap, always imprinting his unmistakable signature.

To say we are excited about this new EP is kind of a massive understatement……

Having been huge fans for over two decades, when he reached out to us it was a bit of an eye rubbing and arm pinching moment.

We have been graced with a 3 track EP titled “Tonight is the Night”

A1. Sun Deck – A link-up with Athens mainstay Lex, drifting somewhere between yacht funk and late-night boogie. Sun-washed grooves, crisp synth leads, and just enough 80s energy to keep it moving without trying too hard.

B1. Italo Boogie Stomp – Does exactly what it says. Rolling Linn drums, sharp synth lines, and a nostalgic flute motif that nods to NYC’s street soul era without getting stuck in it.

B2. Ferroso – Picks up the pace slightly. Deep house drums meet a driving electro bassline, with arpeggiated synths and warm pads rounding it out—focused, functional, and built for the floor.

Lewis Taylor is a rising 20-something house head from Newcastle who shows off his chops on this new one from Ebullience. Ebullience is a good way of describing his take on tech and minimal, too. There is plenty of cheer in the lively synth work of opener 'Do You Wanna Come Party', to which the answer is yes, please, very much so. 'Satisfaction' has its head up in the clouds with more wispy cosmic synth motifs, zippy grooves and silky pads that are luminous and pure. 'Optimism' strikes that same balance between low-end oomph and celestial melodic charm - a fresh, future blend that is perfect for summer. 'Still Dreaming' closes with more mature melodies and accomplished arrangements that quietly buzz.

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

Zeta-Kognition is a rarely documented perceptual phenomenon in which thoughts are no longer experienced in the order in which they are formed.

The first reports appeared shortly after the promo release of this EP. Listeners described a strange effect while listening to pdqb's signature electro tracks: while the music was playing, memories, expectations, and present perceptions seemed to exchange places. Some felt they had already completed a thought before it had even occurred to them. Others reported that half an hour vanished in what felt like seconds, while a few minutes seemed to contain an unusual depth and density of experience.

Intriguingly, those who experienced side effects after listening could restore their normal perception by playing the entire EP in reverse. It was said that the reverse playback would unwind the cognitive displacement caused by the original sequence, gradually returning memories, expectations, and present awareness to their natural alignment.

Dr. Sascha Dornhöfer, who first documented the phenomenon, speculates that the remix by Carsten Nicolai (Alva Noto) may contain a unique balance of repetition and symmetry that survives both forward and reverse playback. This would explain why listeners experiencing the effects of Zeta Cognition consistently identify it as the point from which normal perception can be restored.

In any case, dear listener, there is no cause for concern - the antidote is hidden in reverse.

P.S. Then again, who knows. Persistent rumors suggest that Adam Pendleton's exclusive black-and-white artwork conceals a visual counterpart to the phenomenon, though no one has yet determined exactly what it reveals - or to whom.

Adam Freeland relaunches Marine Parade with the ‘Transhuman’ EP, a collaboration with Spooky’s Duncan Forbes and the first of three releases set to arrive throughout the year. Available to stream now, the title track previews a deeper, more atmospheric direction ahead of Freeland's first solo material in sixteen years and the first new music on Marine Parade since 2009.

Across Adam Freeland and Duncan Forbes’ ‘Transhuman’ EP, broken rhythms sit subtly beneath spacious arrangements, while flickering synths, sci-fi -infused vocals and static-charged textures create an immersive, cinematic feel. It's a sound that reflects both Freeland's longstanding love of dub and Techno and the distance gained from stepping away from the dance music landscape in the 2010s.

Best known for his seminal ‘Coastal Breaks’ mix album and a run of acclaimed releases, remixes, and mix compilations spanning Fabric Live, Global Underground and Back To Mine, Adam Freeland spent a decade living off -grid in California’s Mojave Desert, while also working with Ry X to form The Acid, a band that has since released the ‘Liminal’ LP on Mute/Infectious, penned a film score and toured to great acclaim from well outside the electronic world.

Joining Adam Freeland is Duncan Forbes, one half of pioneering UK duo Spooky, whose landmark releases on Guerilla Records and influential debut album ‘Gargantuan’ helped define the early ambient Techno and progressive House movements. In the decades since, Forbes has continued to evolve through projects including collaborations with Mr. G and Sasha, as well as recent solo releases via Enzo Siragusa’s Fuse London and his own 49North imprint.

The ‘Transhuman’ EP marks the beginning of a new chapter for Marine Parade, with two further EPs from Freeland scheduled throughout 2026. The label will also expand with forthcoming material from longtime friends and previous label artists Evil Nine, alongside a new generation of talent joining the roster.

60 artists from 9 countries gathered in Armenia for the first edition of Notations Laboratory: a two-week interdisciplinary platform initiated and curated by hosq Foundation, bringing together musicians, sound artists, composers, and visual artists to collaboratively explore new artistic forms. Using Avet Terterian’s Symphony No. 3 as a conceptual and sonic point of departure, the participants created 11 original compositions during the laboratory through collective experimentation, improvisation, electroacoustic composition, and cross-disciplinary exchange. Rather than a fixed-genre compilation, the record captures the energy of a temporary artistic ecosystem formed in real time through shared process and collective creation, moving between ambient, drone, contemporary electronic music, experimental folk, and electroacoustic sonic practices. Recorded and produced during Notations Laboratory 2025 at the State Philharmonia of Armenia.

*repress*

The prolific Lord Of The Isles (aka Scotland's Neil McDonald) has had a string of stunning 12's over the past few years on labels such as Permanent Vacation, Unthank, Shevchenko, Mule and of course his four track 'Year Of The City EP' on Phonica, which was widely acclaimed upon its release in 2012.

This time LOTI presents two long-form tracks, each a mini-masterpiece in itself. The 10 minute plus 'Greane' bursts into life after an intro of kicks and white noise hi-hats. It continues to slowly build, with pitch-bent synth lines and a pulsing bass-line making way for a melacholic shift in mood. Truly original stuff!

On the flip, a swirl of synthetic strings introduces 'Gigha', in a manner that brings to mind Rhythm
Is Rhythm's legendary 'Kao-Tic Harmony', before the drums and infectious acid-line join in. Over the 8 minutes they continue to interweave and play off each other to dazzling effect.

Artwork by Jack Featherstone, the designer of a number of sleeves for Border Community (including the highly praised campaign behind James Holden's 'The Inheritors', its singles and live visuals), Electric Minds, Warm and of course, Phonica.

With his distinctive touch for melody and texture, "Thunder EP" opens a portal to a new world, both vibrant and underground. Split into two parts, the A-side burns with a groovy house and breakbeat energy, while the B-side shines with deep, progressive and electronic soundscapes.

With its powerful vocals reminiscent of Bicep and a melody that brings a breath of fresh air, the opening track of the EP "Thunder" has all the makings of a future anthem. It perfectly sets the tone with its raw breakbeat energy and rolling textures

Right after, the A2 "You've Got The Feeling" offers a subtle blend of softness and groove. True to Houseum’s deep and sunny DNA, the track revolves around an effective classic piano house hook and a captivating soul vocal that instantly sticks in your head.

Closing the A-side, "Space Jam" shifts into more atmospheric territories with floating vocals and airy synth pads, moving the dancefloor toward a deeper, more mental vibe.

On the flip side, the hypnotic bassline of the B1 "Bullet Train" sets the pace immediately. The track nods to 90s progressive house through its structure while offering distinctive deep tech and dub techno sounds.

Finally, "Haag" wraps up the record with a subtle blend of IDM, ambient, and dub techno, a sound aesthetic that might remind a certain In Limbo EP released on Houseum's sub-label, Ellipse Records. It acts as the perfect closing track, inviting the listener to wind down and float away after the intensity of the previous tracks.

Nite Hawk is a new name to us, but one we'll be keeping an ear on, just off the back of this new EP on York-based John Deevechis's The Owl label. The opener plays with a classic rhythm and serves it up with a bleeping synth sequence that will also be familiar, while the rickety drums unfold in off-grid patterns. It's a great start before 'Shake Ya Rump' brings machine-made disco with sugary synths and playful vocals over funky basslines, then 'Be Together' closes with another cold analogue groove that ramps up the pressure and is the sort of tasteful and timeless crowd pleaser you will be playing forever.

London based Reposition Records return with ‘Electric Dream Romance’ - celebrating a brand new beautiful piece of braindancing house music from trailblazer Kim Cosmik. DMX Krew, dBridge, El Prevost and Kim herself all provide 4 distinct remixes.

With deep roots in UK soundsystem free party culture as a member of the legendary Spiral Tribe, Kim remains a fixture in the underground regularly DJing in spaces from London's FOLD to The Advent's Technoclub. Past releases across 20/20 Vision and her own label Cybersoul have explored the harder, industrial edge of techno. Electric Dream Romance turns toward the more heartfelt side of her production, finding a feel for classic dancefloor house, tantalising vocals and seductive chords wrapped around playful acid lines and Kerrier District-esque synth work.

The unique remixes then glide from DMX Krew's patient electro workout through to an off-kilter shuffling dnb remix from Exit Records boss Dbridge, an emblematically stripped back workout from Reposition co-founder El Prevost, and finally a broken techno interpretation from the EDR innovator herself, Kim Cosmik.

This has been a very personal project and a mammoth undertaking for us folks here PACE HQ: 12 tracks unearthed from the cult Scottish figure’s completely overlooked back catalogue. Collected archive material from the past 25 years, originally composed as an OST for the feature length film The Flesher (1992) which was also written, shot and directed by Rae. No copies remain. Deep cuts that span G-funk, hip-hop, house, synth-pop, electro, dub, downtempo, funk/soul, R’n’B with appearances from Rae’s heavyweight list of frequent collaborators… Bernie Worrell, Adrian Sherwood and Jimmy Douglass.

"In 1991, the Scottish Rugby Union & the Royal Bank of Scotland, commissioned me tae make the world's first Scotland World Cup music video... they didn’t pay me so I fought back. It took 18 years tae win, and I nearly lost everything. I turned to audio visual art: under the pseudonym Jock Pleasure - I wrote and directed a feature length film called The Flesher as well as creating 100s of full length DVDs and tracks” (Jesse Rae).

One man took on the banks and won, but it took its toll and in this totemic corpus of work Jesse Rae counts the cost. The Flesher is art as pure defiance: “this stuff is very dark and deep, it is such a vast body o’ work, but when I won my battle against the bank, I secretly returned tae Hodge Close (in the Scottish borders) and dropped the entire work sealed in stone intae the deep deep murky depths of that water, where it has remained since 2009. There are no mair copies."

What we have here then is the salvaged remains. A hopeful dunt of Scottish erotica that gets you right in the pits.

Splice DJ Screw with Dean Blunt, Moodymann, Prince, Cocteau Twins, MF DOOM, Luther Van fuckin’ Dross, Barry fuckin’ White; run that through the B-movie videotape static meets Harmony Korine, Les Blank & early Grand Theft Auto. Empty boulevards. Small-town strip joints. Late-night dial-up. Sacrifice and solace. Outside of the OST, there’s a cast of forgotten characters: primary school kids making house jams, teenage popstars from the Scottish Borders, and the rhapsodic Ayrshire soprano NIKA laying down haunting vocals in Miami.

Celebrated as a cult figure in the USA, Jesse’s work has never fully had the appreciation it deserves at home. Not really. Aye, we know Inside Out and The Thistle. But he’s too easily fobbed off as an eccentric outsider: a helmet-wearing, claymore-wielding gimmick. But do we really know the extent of what this man has done - and gone through - for the sake of art?

Common Language is a project of the Community Library label. We started it as a way to reconnect with the ideas that drove ComLib’s inaugural releases back in 2005, uncompromising and eclectic DJ 12’s. We’ll be focused on this imprint for a while, and near-term, putting the emphasis on releases by label cofounders and our closest friends.

On CLANG02, the Middlemarch 12” EP, Solenoid transmutes his signature buoyant syncopated acid, electro, and mutant techno into moodier, reverberant territory. If you previously knew Solenoid for his restless, sophisticated Braindance-adjacent stuff, this EP is totally consistent with his long discography. Here though, he gets into a dreamier, and also bassier zone that is equally rewarding either in the innerspace immersion of headphones or in the warmth of your favorite local underground club’s sound system--lots of detail and atmosphere to sink into.

“Middlemarch” is moody deep techno-- a clatter of distant percussion encircles eerie pads and an extra-bassy, double-filtered TB303 bassline. “Ways and Means” rotates perplexing polyrhythmic patterns driven by bright, elasticchords that keep it moving (reminding me of The Martian’s stuff on Red Planet a bit). “A Winter Walk” offers a skeletal, skittering rhythm that wouldn’t be out of place next to a Livity Sound track; and the closer, “Dvv Waltz” reserves a 3/4-time experiment for the bravest / most inquisitive DJs.

Edition of 300 vinyl copies includes special full- color insert
Mastered by Dietrich Schoenemann

About Solenoid
Solenoid is the primary musical vehicle of David Chandler, a lifer underground producer, musician, and visual artist. As a lone electronic voice in the wilderness of early-90s Portland (which was at the time a grunge-saturated third backwater) he started out releasing adventurous, now- unobtainium tapes on his DIY Pharmacy label. Solenoid then became known internationally at the turn of the millennium as one of Portland’s persistent ambassadors for underground crossover electro and techno, releasing on labels like Outward Music Company, Emanate, Orac, and many others (most recently, on the Paris label Partout). He’s a real legend honestly--doggedly clocking in almost 40 years of uncompromising experimentalism with a signature sound and vision running all the way through.
-- Paul Dickow (Strategy)

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

The return of Jonne Lydén aka 53X is an exhilarating welcome for Emotional Especial with 4 more seismic analogue psychedelic jams that are becoming recognisably a unique and hypnotic statement.

Lydén’s studio time is distillation for personal contemplation and perfection just 3 releases in 5 years that are worth the wait. The heady demand for his debut ‘Synapse’ and the following ‘Zen ‘23’ on Especial (limited repress incoming!) show constant development a sound of widescreen technoscope where dub beats trance pyrotechnics and 303 mind-melt swirling in a cosmic matter.

His return takes this further his music heritage in Finland’s hardcore punk scene to finding the techno of Detroit and Berlin before submerging in synths and drum programming jamming recording and mixing these trip-out electronic journeys live.

This heavy 4/4 jack is apparent on opening Sanctuary. Like his recent outings ‘Radar’ found on the Especial 50th “sampler” release ‘Gracias Especial’ (EES050) and also ‘Simulaato’ hidden away on blink and you miss it cult label Avidya (AVI003) this is a pure undiluted bang. Straight forward heavy bass kicking charged with acid 303 and monotonic vocal insights the track is a flourishing temple a call of embrace.

The eponymous Cyan Haze showcases 53X’s cinematic finest panoramic audio and sound design creating expansive phonics. BPMs drop samples flourish around break drops and rolling bass – breathing looping shouting lifting.

Owls enlightens. Hardware rumbles cerebral a temporal universe awakening. The collage of found sound successive sequential all encased by hypnotic broken chords rolling bass and melancholic piano refrain. Meta worming braindance ecstatic tribal industrial gliding by Shiva into the night.

Dust closes apt its basement collage pounds Lydén to techno genesis. Proto-zeitgeist steppa dark room incantation pulling and expanding the fantasy to strange dreamscapes. Reincarnation and hope in 2026.

A long-time figure at the heart of Samurai Music, Last Life makes his first appearance on SAIBAI trading his signature snarl for shadowy psychedelia and snaking beatdowns. Since 2015 Mauro Picciau has been cultivating a sound that maximises on the space that opens up around half-time 170, finding plenty of power while stretching out his rhythms. On this new release he pivots towards subtler tones and textures, and plugs directly into the wave of innovative artistry occurring at the intersection of D&B and deep techno. Writhing, taut sound design spells out the mood on opening track 'Gear Cutter', as Picciau gets expressive with metallic feedback tones that elegantly contort across the front of the mix. There's a strong sense of narrative that brings the track's dynamic movement to the fore, holding back energetic shifts with a measured intent to ramp up the tension. 'Norma' has a more ceremonial feel, locking into a steady pulse and letting distant clouds of melodic ambience create a bewitching atmosphere around the percussive mantras. 'Radian' speaks its own minimalist, techno-spirited language, drawing on alien murmurs and steely drones to strike a lighter note without breaking the mysterious fog that hovers over the EP. 'The Moat' leads on a heavier set of drums to close the record out, shaping space with skilful reverb and a tightly controlled synth pulse. Within this echo chamber, and across the whole release, Picciau has capitalised on this patient approach to bed infinitesimal ripples into the mix, rewarding the active listener and instilling his creations with a kinetic vitality that can always be felt, no matter how slight the sound is.

A legend returns as the alias of scene stalwart DJ Levi and Curvature co-creator Ghosts of MIDI unleashes an EP of seismic tracks backed with remixes from ASC and Aural Imbalance. A1 - Iron Dinosaurs Opening a fine Curvature debut for the label’s very own Dan Azimuth, Iron Dinosaurs is an epic piece of atmospheric goodness introduced with a long, elegant intro of synths and luscious female vocals. Before long, classy, energetic metallic breaks kick in, set to an immensely memorable key melody and a room-filling bassline, creating a breathtakingly fluid and captivating piece. A2 - Iron Dinosaurs (ASC remix) Taking an incredibly evocative track and lacing it with sprinkles of ASC goodness to create a true gem is the order of the day here, as the heart of the original courses through an ominous intro, quickly beset by fine analogue amens that hit hard for the dancefloor, while allowing the soul of the piece to breathe, syncing in harmony with the distinctive vocal samples and swirling synthwork that colour the atmosphere so perfectly. B1 - Deadly Dimensions A DJ-friendly intro of hi hats gradually ushers in epic, bassy melodies gliding through serene vocals and airy pads, before the drop reveals exquisite breaks with just the slightest hint of an apache in there. Very danceable, the breaks are chopped and diced at will, driving a determined pace for another superbly epic, ethereal piece of atmospheric drum & bass from one of the OG’s of the scene. B2 - Deadly Dimensions (Aural Imbalance remix) The EP closes with a real treat - this is as close as an example you’ll hear to a match made in heaven as the eerily epic production of Ghosts of Midi collides with the inimitable ambient mastery of Aural Imbalance. Intersecting the thoughtful vibes of the original, this remix sees playful old school breaks jostle with swathes of fluid synthwork and delicate pads, creating a unified expression of atmospheric purity.