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Deep as deep can be. Amazing release. After years of releasing in the digital realm, Perception - 知覺 goes on wax! This first record is signed by head-honcho Dawn Gab, serving 3 groovy and percussive tracks. To wrap it up, minimal's maestro Diego Krause delivers a solid remix in an after-hour vibe. A punchy record shaped to hit the dance-floors - are you ready?

It's Sunday. You're at the after party. And the DJ is playing white label edits you've never heard before.

There's iconic. Then there's *iconic*.

A MASSIVE speaker-smashing release, decades overdue. It's been bootlegged - shamefully so, many times over the years - but finally we present the first ever officially licensed reissue of this truly special Afro-disco-not-disco LP from 1979. A favourite of Harvey, Antal, Young Marco and, er, every great DJ to ever play deep records ever, basically. It's not hard to see - or, indeed, *feel* why.

Gem after gem of relentless, irresistibly funky gold, it's an incredibly revelatory album with endlessly complex drum patterns and basslines to dive into, throughout. Truly, this is uniquely FIRE music, unlike anything else you've ever heard, based on Gwo ka music from the gorgeous islands of Guadeloupe and Martinique. A thrilling synthesis of primal, hypnotic drums - the most tribal of percussive elements high in the mix throughout - with the loping synth pyrotechnics of, amongst a whole host of other greats, Wally Badarou and bass power of disco funk don Sauveur Mallia (Arpadys, Spatial & Co.)

Originally released on the seminal French label Barclay, you'd be hard pressed to even find an original copy in nice condition anywhere, let alone for a reasonable price, so it's high time an officially licensed, remastered reissue came around. It's just the latest in a long line of Be With reissues where the music sounds like the - drop-dead dazzling - cover. This here is a true drum attack. BUY ON SIGHT!

Tumblack was a short-lived project, produced and arranged by electronic wizard Yves Hayat and it can certainly be regarded as one of the first examples of Zouk, mixing powerful disco-funk arrangements with Gwo ka, traditional music from Guadeloupe. Gwo ka is an Antillean Creole term for "big drum". You can say that again! It refers to both a family of hand drums and the music played with them, which is a major part of Guadeloupean folk music.Whilst the first side is credited to the exceptional Tumblack band, the flip is given over to "Tumblack & Friends". These weren't just any old friends. Oh no, they were the absolute cream of the French scene (think Arpadys, Voyage, Le Club, Giant, CCPP, Synthesis, Swing Family) such as Sauveur Mallia, Wally Badarou, Marc Chantereau on percussion, Slim Pezin on guitar and Jean-Paul Batailley and Pierre Alain-Dahan handling drum duties.

The urgent, frantic "Fracas" gets things moving straight away with a cavalcade of drums and percussive funk before giving way to the stratospheric "Invocation", one of the album's many, many highlights. It's effectively one long heavenly drum break, a really hard, raw, tribal drum workout without a whole lot else going on - and all the better for it! One to make you sweat, no question. Up next, "Jubilé" is announced with a bellowing accapella voice, chanting the titular name before the heaviest of kicks smashes out your system and lulls you into an absolute state of bliss for nearly 6 minutes. Whoooooosh! Rounding out the sensational A-Side, "Vaudou" is a scratchy, funky patterned drum workout which - yep, yet again - absolutely slays your neck muscles, making them snap and contract in extraordinary fashion. TURN IT UP!

Ushering in the B-Side, the brief, fidgety, African chant-funk of "Parlement" segues seamlessly, beautifully into "Waka", an overwhelmingly rich gem of percussive funk. You do not want this to end, once it hits its stride. For maximum heavenly drum pleasure, you'd need to go a long way than the moment "Waka" feels like it's fading out before it kick-drum-blend into the mighty "Caraïba (Intro)". It's just staggeringly good. It's a minute-long layered drum prelude to the gigantic track which follows. Indeed, "Caraïba" is arguably the best loved and most well-known cut off the LP. And with good reason...featuring that Mallia bass, warm Rhodes and clavs, synth magic, memorably alto sax lines and, of course, tribal chanting.

Another mighty super-ahead-of-its-time classic, the bouncing bass heavy synth funk of "Chunga Funk" deploys Mallia and Wally Badarou (on Mini Moog) exceptionally well. I mean, come on, that bassline is just ridiculous. Try not to move to this one. This extraordinary record closes out with the more traditional Gwo ka sounds of "Bateau La Passé", the tribal chorus making the hairs on the back of your neck stand up.

Tumblack really is a gorgeous late-70s disco-not-disco essential. It's an absolute MONSTER that will completely blow you away; and, yes, it's as compelling and trance-inducing as the cover. The audio for Tumblack has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The cover of Tumblack is so iconic and we sought special permission from original artist Hélène Majera to recreate this at Be With HQ. It absolutely zings off the print and serves as the perfect finishing touch to this long overdue re-issue.

"30 unforgettable hits from the decade that brought movie classics from The Breakfast Club to Back To The Future.
There was no greater era for movie soundtracks than the 80s! Featuring some of the most iconic and memorable soundtrack moments including the title track from Ghostbusters, ‘Holding Out for a Hero’ from Footloose, ‘I’ve Had The Time Of My Life’ from Dirty Dancing, ‘A Kind Of Magic’ from Highlander, ‘Eye Of The Tiger’ from Rocky III, Gladys Knight’s classic Bond theme from Licence To Kill plus many more. This epic double vinyl will have you reminiscing on those beloved 80s film classics and their amazing music."

A classic and much sought after EP from Bay B Kane, gloriously remastered and repressed from DAT source.

Canadian go-slow master Eddie C is back with more of his sumptuous and sensuous grooves on the magnificent Funkyjaws Music. This new 12" kicks off with the emotionally intense and gospel-laced vocal sounds of 'Jesus Calling' with a passionate pastor lighting up the airways. 'Show Me The Way' is a more paired down sound this time with a raw soul edge and nice dusty drums, then 'Superior Disco' brings some lavish string stabs and funky basslines to some killer instrumental grooves. 'Loud Minority' closes out with some lovely jazzy organ work over more low-slung and dusty disco beats.

Repress!

Up next on Open Space is the first installment in a new series of 12 inch records for DJs titled ‘Open Space Club Tools’ - as the name suggests, you’ll find a variety of tools handmade by our favorite producer-DJ’s. Sticky drum beats and tricky rhythms for the nearly-extinct club deejay.

OSCT01 features Benedek, and John Jones as ‘Calvin’ representing our LA-MIA connection, Lachlan McGeehan aka ‘Liluzu’ from Australia, and of course our Miami boy Goiz; once as himself on the A-side, and again on the B-side under his newest percussion-focused alias ‘Glue Boy’. A mixed bag of hammers, nails, screwdrivers and more… All greased up and ready for whatever the club world may bring your way.

Next stop... Second reference in the PHASELAB catalog and twenty-third of our PHASE IMPRINT label! What a satisfaction to finally present this project (vinyl and digital) by Aizikovic, the yout from Madrid who is trying to bring an especially fresh, as well as profound, vision to our city. This EP transmits us; altered visions in music, many experiences linked to the dance floor and feelings of light in a dark space. And in case anyone wanted a little more, Comissar Lag aka Lag has prepared a melting remix for us.

Many thanks for the designs to the snowboarder of the strokes @judyisangry, to Mario Castillo for the Master and to Pedro O'Connor for the Mix.

Demuja unveils 'Blueprint', the first release on his label MUJA to feature collaborations with other artists. After celebrating the label’s 10-year milestone, Demuja felt it was the right moment to take the next step, and he's excited to launch this new phase with a carefully curated VA compilation.

This 12 Inch sampler includes contributions from iconic figures in the scene, such as Boo Williams, Kyle Hall, Gonno, and Lefto, among others. While the compilation offers a variety of sounds, it stays true to its core, remaining focused on deep and underground house music!

The Diyeis is the brainchild of Concret and Inigo Vontier, a DJ duo united by their love for edgy, psychedelic music and the pursuit of raw, pure sounds that transcend emotional layers. Their mission? To harness the primal, tribal effect of ecstasy on the dancefloor, creating a space where connection thrives through rhythm alone.

For the first time ever, the highly regarded Anything Goes release series is curated by a single act – or rather, a duo: The Diyeis. Known for their raw, edgy sound and boundless creativity, the duo presents a unique selection of reworked tracks. These edits, crafted as playful DJ tools, are designed to create those cheeky dancefloor moments where nostalgia blends seamlessly with the thrill of a sunrise rave.

Because of their mix of hellified gangster shit and progressive compositions, I once jokingly called Clipping "Deathrow Tull." Well, it's not a joke anymore. While Clipping's last few projects have been record-long concepts like classic prog rock, their cyberpunk-infused new album Dead Channel Sky is mixtape-like, a carefully curated collection in which every track is a love letter to a possible present. It sounds crisp and classic at the same time. When something strikes us as retrospective and futuristic at the same time, it's a reminder of how slipshod our present moment truly is. Juxtaposing high-tech, corporate command-and-control systems (the "cyber") with the lo-fi, D.I.Y. underground (the "punk"), cyberpunk proper starts in 1982 and ends in 1999, from Blade Runner to The Matrix. Concurrently, hip-hop matured, went through its Golden Era, then melted into further forms: it went from from Fab 5 Freddy to Public Enemy to Missy Elliott. While other genres flirted with it, hip-hop was fickle and fey. Rap and rock birthed mutant offspring maligned by most, and hip-hop's relations with electronica rarely fared any better. What if someone explicitly merged hip-hop and cyberpunk - those twin suns of the '80s and '90s - into one set and sound? After all, both movements are the result of hacking the haunted leftovers of a war-torn culture that's long since moved on. On Dead Channel Sky, Clipping texture-map the twin histories of hip-hop and cyberpunk onto an alternate present where Rammellzee and Bambaataa are the superheroes of old; where Cybotron and Mantronix are the reigning legends; where Egyptian Lover and Freestyle are debated endlessly, and Ultramag and Public Enemy are the undeniable forefathers; where the lost movements of 1980s and the 1990s are still happening: rave, trip-hop, hip-house, acid house, drum & bass, big beat-the detritus of a different timeline, the survivors of armed audio warfare. Clipping are no strangers to sci-fi: two of their records were nominated for Hugo Awards (one of science fiction's top literary prizes), and a novella spun-off from their music was nominated for a third. On Dead Channel Sky, Clipping's co-conspirators include everyone from the guitarist Nels Cline, to their labelmates Cartel Madras, rapper/actor Tia Nomore, and wordsmith Aesop Rock. Diggs is known for intricate lyrics and rapid-fire rapping, and the tracks that Snipes and Hutson build in the background are no less complex. All of the above serves to give us a glimpse of an adjacent possible present, where hip-hop and cyberpunk are one culture. Binary stars are often perceived as one object when viewed with the naked eye. Like those twin sun systems, it'll take some special equipment and some discerning attention to pull the stars apart on this record. As Diggs barks on the fire-starting "Change the Channel": Everything is very important!

Over Under marks a significant evolution in Secondo's artistic journey, showcasing a refined balance between the functional and the experimental within house music and techno. The release reflects two decades of musical exploration and innovation, while drawing inspiration from his early production style. Now, fueled by the lessons learned over the years, Secondo returns, synthesizing new ideas from his roots in the ’90s.

Opening with the beatless, kosmische pulse of Occhi Nuovi, Over Under crosses different tempos and moods, shifting from club-ready tracks — like the alien funk of the first single Unlikely Companions and the album’s tense coda Nowhere Man — to the bubbling, mid-tempo step of Slow Space, and deeper, more reflective moments like the modulating jazz moods of the title track and the centerpiece Solar Funk. The album’s progression ebbs and flows, guiding the listener through a carefully crafted narrative. Narrative, it seems, is key to Over Under.

Studio Barnhus proudly presents this debut full-length record from the Jimi Tenor & Freestyle Man project, the fruit of the joint labour of these two undisputed legends of electronic music. Building on their catalog of work for labels like Warp and Sähkö, these Finnish heroes have blessed
Stockholm imprint Studio Barnhus with regular releases since 2017, this LP being the finest example thus far of their classic yet always fresh sound.

Somewhere between techno, early 90s Italian progressive, and goa trance, the debut EP by Astral Renegades is difficult to pigeonhole, but works wonders on a saucer-eyed dancefloor.

The brainchild of a mysterious but established producer, Astral Renegades takes things in a whole new headspinning direction.

EP opener Planetarium sets out its stall early, getting straight into trippy, trancey territory within the first few seconds, an acid bassline underpinning the swirl to devastating effect.

Wunderland goes even deeper, with a mind-bendingly detuned melody and that ever-present acid bass.

Pluto FM on the B-side pushes the repetition to the limit with pulsing synth loops, while EP closer Milchstr brings an element of funk to the bassline.

Anyone that knows what I like and has been following Future Retro London over the years will know that I'm an avid supporter of Ricky Force's music. Having had him on the label in all the ways possible (a solo tune, a remix & a collab), I think it's fair to say that I'm a huge fan of what he does.

Out of the blue, he sent me a big folder of music and I couldn't narrow it down to a 4 track EP so it ended up becoming an 8 tracker, including a new collab I did with him to go on the release.

Thanks to Ricky Force for his quality work on this release & a very special mention going out to Team Hyper D for their co-operation in clearing the sample of Stevie Hyper D on "Sensi".

Very excited to have this EP out, goes without saying that I'm very into the music that Comfort Zone makes and that I'm very envious of his ability to make such confident melodies in his tunes.

I've worked with him previously on Future Retro London when we collaborated on Emerald Dreams, which was on Meeting Of The Minds Vol. 5, as well as working with him on an EP for Banoffee Pies and tracks for Repertoire & Dalston Chillies.

He is absolutely one to watch out for and hopefully, there's more to come from him in the near future. Many thanks to him for allowing me to release these tunes of his and for letting me remix Tunnel Vision, which was my favourite track on this release.

Two days after his 100th birthday, Marshall Allen started recording New Dawn, his debut solo album. A member of Sun Ra’s Arkestra since 1958, Allen assumed leadership of the band in 1995. Throughout his nearly seventy-year career, Allen has never released a solo album under his own name, and yet, instead of capping such a legendary output, New Dawn seems to herald a new beginning. A love letter to spacetime, it channels a century of musical intelligence into seven tracks, showing Allen at his most protean—freely moving from relaxed, transdimensional palettes to bluesy big band and beyond.

The title track “New Dawn” is the centerpiece of this impressive album and the arranger Knoel Scott wrote the lyrics himself. We are thrilled to have the incomparable Neneh Cherry, stepdaughter of legendary jazz musician Don Cherry, lend her unmistakable voice to this song.

“It’s gorgeous! Neneh is a jazz singer now! Sounds like something Nina Simone might have done.” – David Byrne

The 7” single is limited to 300 copies, numbered, and comes in a chic screen-printed cover …

After a long wait, we are happy to anounce the first release of our record label side project : Suave Sounds.

This first release is a V.A tailored for the club, made by some of the « Friends of the pavillon » .

A1 is a electro house groover with a gritty bass and a vocal love duo between a woman and a robot, made by none other by our man Welwert Aka Man/ipulate.

A2 is a cosmic discoide house journey manufactured by Merov, our new electronician. A wonderful combination of emotions and a « sacrée balle » capable of bringing arms in the air & love to the floor.

B1 is Pierre Marty’s special blend of tech-house, funk & shimmering synths, perfect to energize a crowd after a break or calm things down during peak time, a little toy you keep in the pocket just in case.

B2 is a sexy tech house roller by Gab Jr featuring Lourène. A introspective club track with a massive bass line built for the middle of the night, asking the audience an important question.

One the most prolific talents in the last forty years of house music, the ever-innovative Jerome Sydenham goes toe-to-toe against the emerging talents of Berlin's mysterious Cosmic Soldier, working together to deliver a potent two-tracker as the weighty first release of 2024 on Planet E.

Showcasing a new angle of the eternal, quintessential blend of house and techno on Carl Craig’s legendary imprint, ‘Deeplight’ soars on impressive layers of psychedelic texture and raw percussion as a querying, prophetic vocal leads towards a valley of urgent chords.

Mixed with the same undeniable weight and power, the hammering, insistent ‘Black Dog’ skirts with darkness before upending it with vintage Detroit keys, waves of euphoria rolling out of the gloom to move the dance.

Vibes Addikt is proud to unveil its latest EP, brought to you by N.O.B.A, an artist whose tracks have consistently made their way into Beatport's Top 100, with support from major figures like Amelie Lens, Mark Sherry, Nusha, Klaudia Gawlas, Charlotte De Witte, Mha Iri, and many more. N.O.B.A continues to captivate the scene with powerful, emotional productions, and this new release on his label is no exception.

This EP, with its powerhouse tracks, is a true collection of sonic bombs. "Shadows From The Darkness" is a masterpiece of intensity and emotion, featuring a remix by INIGMA, the Orlando-based artist now residing in Spain, who brings a hypnotic tech-trance touch to the track.

The track "The Unit" is a techno-trance gem, built on a bed of acid basslines, with an irresistible groove and punchy sounds that sweep the listener into a whirlwind of energy. Meanwhile, "Sunset" takes us back to the golden days of the 90s, with a pure trance vibe and uplifting melodies that evoke the nostalgia of the scene’s finest moments.

An unmissable EP, available in an exclusive purple vinyl edition, reflecting N.O.B.A's artistic vision. A release that will delight fans of techno, trance, and everything in between.

Early support from Mha Iri (Drumcode, Filth On Acid), Charlotte De Witte (KNTXT), M.I.K.E. Push (Bonzai), DJ Fire (Bonzai), Dave Davis (Laark, Cherry Moon), CP Cedric Piret (Bedrock), Tom Leclercq (Versuz)…

Français

Vibes Addikt est fier de dévoiler son dernier EP, porté par N.O.B.A, un artiste dont les tracks ont régulièrement figuré dans le Top 100 de Beatport, avec le soutien de figures majeures comme Amelie Lens, Mark Sherry, Nusha, Klaudia Gawlas, Charlotte De Witte, Mha Iri, et bien d’autres. N.O.B.A continue de captiver la scène avec des productions puissantes et émotionnelles, et cette nouvelle sortie sur son label ne fait pas exception.

Cet EP, avec ses morceaux explosifs, est une véritable collection de bombes sonores. "Shadows From The Darkness" est un chef-d'œuvre d’intensité et d’émotion, sublimé par un remix de INIGMA, l'artiste originaire d'Orlando, maintenant basé en Espagne, qui apporte une touche hypnotique et tech-trance à la composition.

Le titre "The Unit" est une perle techno-trance, construite sur un lit de basses acides, avec un groove irrésistible et des sonorités percutantes qui emportent l’auditeur dans un tourbillon d’énergie. Quant à "Sunset", il nous plonge dans les années dorées des 90s, avec une vibe trance pure et des mélodies exaltantes qui ravivent la nostalgie des plus belles heures de la scène.

Un EP incontournable, disponible en édition exclusive sur vinyle pourpre, à l’image de la vision artistique de N.O.B.A. Une sortie qui ravira les fans de techno, trance et tout ce qui se trouve entre les deux.

Support de Mha Iri (Drumcode, Filth On Acid), Charlotte De Witte (KNTXT), M.I.K.E. Push (Bonzai), DJ Fire (Bonzai), Dave Davis (Laark, Cherry Moon), CP Cedric Piret (Bedrock), Tom Leclercq (Versuz)…

Das Debütalbum der ghanaischen Frafra-Gospel-Queen Florence Adooni (auch Mitglied bei Alogte Oho & Sounds of Joy) ist ein inspirierendes High Life-Werk mit grandiosen Tracks wie der Gospel-Hymne "Mam Pe'ela Su'ure" oder dem mit Jimi Tenor aufgenommenen Clubtune "Vocalize My Luv". Produziert wurde "A.O.E.I.U." von Ethno-Funk-Pionier und Philophon-Betreiber Max Weissenfeldt. Florence Adooni ist mit ihrer achtköpfigen Liveband regelmässig auf Tour, begeisterte bei Festivals wie Roskilde, Down The Rabbit Hole und Überjazz und absolvierte 2024 mehrere Termine mit Erobique.

360 mcn white-white light cardboard paper / one side only hand plasticization / 2 separated parts prints / hand gluing / PVC outers / original artwork / gatefold sleeve / Bandcamp limited edition 30x60 cm insert with extended liner notes by Tony Higgins and Interview with Babs Robert and Sébastien Gorlé with exclusive pictures and self-portrait by Babs Robert himself printed on GF Smith "Takeo Tant Select" Canvas Paper tip-on left jacket panel / Exclusive never released Memorabilia from Babs Robert's vault.

Personnel:
Babs Robert - alt sax, tenor-sax, electric tenor-sax, Bin Recorder, Acme siren, Chinese-bell, sleigh-bells, maracas, tambourine,hand-rattle,claves)
John Van Rymenant - baritone-sax, fluegelhorn, Bala, tambourine, sleight-bells, cowbell, triangle, claves
Johnny Peret - vibes, bongo's, cowbell, maracas, castanets, rattle-snakes, tambourine, drums, woodclock, trinagle
Johnny Brouwers - piano, prepared-piano, triangle, cowbell, sleigh-bells, maracas, caves,hand-rattle, guiro, woodblock, tambourine
Paul Dubois - bass, triangle, cowbell, claves, rattlesnakes, hand-rattle, woodblock, tambourine
Michel Gobbe - bass,Chinese-bell, claves
Robert Pernet - drum, tambourine, seven-notes M'Bichi, guiro, alarm-siren, home-made metal xylophone, African telephone-drum, triangle, sleigh-bells, Siku

Notes:
Despite its modest role on the world stage, Belgium has produced a number of internationally renowned musicians and composers. There is the iconic gypsy jazz guitar maestro Django Reinhardt, whose position remains unassailable, and guitarist/harmonica player Toots Thielemans, who became an internationally renowned artist performing and recording with Bill Evans, Oscar Peterson, Ella Fitzgerald, Peggy Lee, Shirley Horn and Quincy Jones. The other key Belgian figure is composer/arranger Francy Boland, co-leader with US bebop drumming legend Kenny Clarke of Europe's leading big band of the 60s, the Clarke-Boland Big Band.

The Love Planet performed in the main clubs of Brussels, such as Blue Note, Pol's Jazz Place, and Smog as well as in major musical events throughout Belgium including to big festivals in 1969 - the Avant-Garde Festival in Ghent and the First International Jazz Event in Liege – where the Love Planet shared the bill with Miles Davis - and the Bilzen Jazz Festival in 1970. The contrast between the musical architecture of the themes and sonic freedom in the improvised playing perfectly illustrated the polymorphism – an order within disorder – which the Love Planet aimed for.

The initial original quartet line-up was Babs Robert (sax), Paul Dubois (bass), Johnny Brouwers (piano), and Johnny Peret / Robert Pernet (dru- ms). On the album session, the quartet was augmented with the addition of John Van Rjimenant (saxes) and Michel Gobbe (bass). As well as their main instruments, the band members also played an array of unusual instruments, principally percussion. This is the first official re-release
of the 'Babs Robert and the Love Planet'. Original copies of the album fetch many hundreds of Euros on the collecting circuit and it remains a curious and fascinating window into a moment in time that still resona- tes some fifty years later. Come with us to the Love Planet. (Tony Higgins)

The B is back! Roza Terenzi puts the B in SBC; bounce, bass and.. Boss. Returning with a four track all original EP “Ministry of Wish” the label head is calling on corners of her ever expanding distinctive sound with a sliding scale (etherial to filth) sound bath. Something for every occasion, whether you’re looking to get down and dirty, leave the dancefloor in dust or stargaze via subbass, we got you covered. Recorded between Berlin and Perth, the tracks all signify moments in time that feels like it’s going too fast, an archival stamp on the year 2024; sometimes after a party that lingers with mythical adrenaline, sometimes a personal moment to express reflection.

With the only predictability being Roza’s penchant for Genre Bending, STEP14 sets the tone for the freaky, fabulous year to come of Step Ball Chain in 2025.

With Roza Terenzi and Sleep D on the remix, Alfred Czital & Ayu summon divine frequencies across a debut recalling the finest turn-of-the-millennium trance.

Spirits are high as we strive for utopia. Like relics of times passed – a bygone era where the free party reigned supreme – this is a union forged out of a mutual affinity for trippy dancefloor dynamics and live performance.

Rapturous and ecstatic, both originals evoke pure club hedonism. Sensual, sultry gear made of euphoric melodrama, close sweat and lysergic throb. Wide-eyed optimism coursing throughout, but like any good proggy majick, it’s not without a decent dose of shadow and ritual.

Coming in hottt with the remixes and both are befitting a release bent on traversing the wormhole interior. Oyster Cult acolyte Roza Terenzi keeps it taught and tightly-coiled on her rugged, propulsive re-fit, and not to be outdone, Butter Sessions founders Sleep D let atmosphere pull focus with a sprawling, dubby workout.

Embrace the golden tranquility of summer with Childhood Memories! Let yourself be enchanted by a compilation where each note softly whispers warmth, inviting the essence of summer to dance freely. Envision yourself nestled in a cozy treehouse, surrounded by lush greenery, basking in the warm sunlight as guitar melodies fill the air. Whether you're lost in a captivating book or sharing laughter with cherished friends, allow these laid-back tunes to become the soundtrack to your summer bliss.

'Deixa Rodar' is an essential midtempo disco/boogie jam taken from Hanna's 'Deixa Rodar' LP from 1979. A tip off from our good friend Mark 'GV' Taylor, played at the first of our 'Braziloid' sessions on Brighton sea front.

'To Parado Na Tua' is another killer midtempo disco/boogie cut, produced by the legendary Lincoln Olivetti and Robson Jorge, released in 1984. Taken from the sought after and now fairly pricey 'Festa Funk' LP on RGE.

Fly Free is the newest EP by Jon Dixon on his Hi-Tech Jazz label, 4EVR 4WRD (Forever Forward). He collaborated with 2 good friends and Detroit legends, John "Jammin" Collins and Al Ester to create two unique edits that best suit their personal DJ style. He is no stranger to both jazz heads and techno innovators. He's played with UR's Timeline with Mad Mike, Carl Craig to jazz great Marcus Belgrave. "I wanted to make something that could be the theme song for a Detroit summer regardless of where you're going or coming from," Jon said. "I wanted to create a song that was perfect for cruising down Jefferson heading to Belle Isle, or being stuck in downtown traffic after a game." Jon Dixon took something so familiar to the people of Detroit and transformed it into a piece the world can dance to.

A limited reissue of Cheikh Lô's classic debut album Né La Thiass. Produced by Youssou N'Dour in Dakar in 1995. Cheikh ranks the album as his favourite release.
Available for the frst tme on vinyl, with new artwork and mastered from the original cassete mixes. Includes 2 bonus fully artworked postcards.
180g heavyweight. 16 page colour booklet. Download code included. Cheikh will be touring internatonally throughout 2018.

The efect on frst hearing is positvely spine-tngling - and it
gets beter with every play.'
THE TIMES

A perfect mix, 4 versions, a unique psychedelic trip , special guest The godfather,Howie B with a special remix ;dark ambient and drone music style, the essence of cosmic sound, by Daniele Baldelli, from Malaysia with Love, Kamal Sabran -lo -fi beats, and the original version of
Kabaret Maker

WE ARE EXCITED TO PRESENT THE NEXT RELEASE ON THE NORTHSIDE LABEL, COURTESY OF MELBOURNE HIP HOP / AFROBEAT GROUP : COOL OUT SUN.

Melbourne's Afro Hip Hop veterans, Cool Out Sun are releasing their sophomore LP 'A LION IS A LION' October 4th.

Spearheaded by the duo of Nfa Jones and Sensible J (known for their work across 1200 Techniques, REMi, Sampa The Great & solo projects) are joined by a star studded line up of guests. These include Sampa The Great, Lamine Sonko, Immy Owusu, Vida Sunshyne, Bilalli and more as COS aim to shine light on on their local circle of creatives and inspirations.

Cool Out Sun creates music bridging the traditions of classic Hip Hop with the traditions of Afrobeat, Afro soul & roots music blending West African language and culture with modern sonics that jump out the speakers. Beats are built on the MPC & refined with all live instrumentation & vocals recorded in their lofi indie label, House of Beige studio in the middle of nowhere.

The group's explosive live show has them performing consistently, and their music has been getting a lot of Australian airplay as well as spins across the US, EU and the UK radio.

Cool Out Sun songs go deep into social subjects and storytelling with historical and cultural messaging hidden in catchy hooks and heavy grooves. This collection of songs continues this theme while leaning into the more vibrant side of what Cool Out Sun cooked up in the studio in the creation of this album, 'A LION IS A LION.

To order copies at the WHOLESALE RATE of $25 comes with a minimum of 3 units with each order. Shipping can be arranged and also records can be picked up from here in Fitzroy at Northide.

"First time on vinyl for ‘Died In The Wool’, the 12 song remix companion to David’s 2009 album, ‘Manafon’, plus the non-album track “When We Return You Won’t Recognise Us”
Features remixes by David Sylvian, Dai Fujikura, Jan Bang & Erik Honoré.
“When We Return You Won’t Recognise Us” was specially commissioned by the 2nd Canary Islands Biennial of Architecture, Art and Landscape 2008-2009."

"For Toronto outsider pop auteur Saya Gray, music is a glittering mosaic of endless influences. Her debut album is akin to a sonic chimera; its limbs assembled from disparate, but complimentary musical organisms. Does she make pop? Folk? Rock? R&B? The moment you think you’ve got her pinned, she’s gone like a flash.
Gray’s often collage-like sonicspheres, blanketed with layers of riffs upon layers of electronic chatter, demonstrate the limitless potential of music as an art form.
Saya Gray has received support from Pitchfork, The Guardian, The Times, Colors, The New York Times, BBC Radio 1, BBC Radio 6, NTS, Fader and has recently recorded an incredible Tiny Desk session to be release around her new album. "

Recovered DATs is a collection of lost tracks from the legendary producer Masterplan and they all pack a raw UKG punch. They were once assumed to be gone forever but were happily found on some original Sony DAT tapes and have since been carefully extracted. They were made with all the gear of the day such as the Roland JV-1080, Emu Proteus 1 & 2000 and Korg M1 so offer proper authentic sounds of the sort that define true UK garage. 'Dub General' is our favourite with its clipped vocal sample and restless chord stabs daring about the mix.

Deeply Armed announce release of debut single, ‘The Healing’.

Release features remixes by Andrew Innes (Primal Scream) & Brendan Lynch (Lynch Mob/Paul Weller) and Keith Tenniswood (2 Lone Swordsmen/Radioactive Man).

Belfast’s Deeply Armed have been making subterranean waves for a while now, with tracks being passed around serious heads via various samizdat channels. Andrew Weatherall was an early booster. David Holmes dropped an incredible psychedelic remix that was played out live on specific ritual occasions – but now the trio finally break cover with a three-track 12” that combines deep soul with Krautrock grooves and a rock and roll heart.

With their debut 12” Deeply Armed announce themselves as a singular presence on the fringes of electronic underground sound, hallucinating the kind of phantom dancefloor moves that would reconcile the version, the loop and the live jam with the kind of audacious pop elan of a dream Phil Spector/Dennis Bovell/Conny Plank mega mix.

At times like these we could all do with a little healing, and Deeply Armed are the ones to bring it.

DMF is proud to present the K-llab series, a new collaboration project where label head Kerrie partners with some of her favourite artists. The debut release in the series features an original track and a remix by each artist, offering a fresh take on both the sounds and creative processes of each collaboration.

K-llab-01 sees Kerrie teaming up with Italian duo Dynamic
Forces, known for their heavy, old school leaning, industrial influenced techno. After hosting their UK debut at a DMF event in 2024, the connection between Kerrie and the duo was immediate, leading to the creation of the series.

The duos killer original track Moralism sets the tone as the A1, followed by Kerries grooving, steppy broken-beat remix. The B side features Kerries funk-infused Good Intentions and a slamming Technasia-esque style remix from Dynamic Forces.

This release delivers four tracks that merge gritty, industrial influences with futuristic sound design all underpinned by the signature Dark Machine Funk energy, the first K-llab release offers a powerful start to this new series for DMF.

Preparing your debut full length record is no small undertaking for any artist. The format itself deserves a certain frame of mind and approach – it’s different, and with Sarah Wild’s debut LP she embraces the idea. Expanding her artistic vision to offer something different, making use of the format and bringing new ideas and musical pathways to her established sound. Releasing on her imprint Midnight Operators in early 2025 – My Body Flows In Gravity constitutes a sophisticated homage to the early 2000s trance movement, integrating nostalgic motifs with her ultra-on point production that sits perfect in todays scene.

From the dreamy proto-house vibes of the opener, establishing a foundation with its understated beats, to the Orbital-esk serenity of the title track My Body Flows In Gravity the album works at evoking the emotive resonance of a golden era of music reborn. This trip is backed up by the Early-Balearic styled tracks such as “Fly With Me To The Moon” and “Visit To Mars” which pull you into hazy smoked filled dancefloor territory, hypnotic melodic progressions effectively capture the essence of Trance’s peak cultural moment.

At the mid point “I Don’t Wanna Go” introduces a different dimension, exploring a more Euro sound that is at the peak of the contemporary scene, but infused with Sarah’s unique edge, hyper pumping beats work alongside spoken word to really up the tempo. Following this the journey returns to a more progressive feel, “Floating Around” and ” On My Way Home” take things into deeper territory, bringing the focus’s of the record back the groove after the blurry eyed highs. Bringing the record in for a perfect landing. There is an emotional duality to this record, a movement through a juxtaposition of yearning and almost frantic emotions alongside more uplifting harmonics through to more introspective moments. The final track “Landing” gracefully closes this arc.

Sarah Wild delivers a sonic journey as much concerned with the process as with the destination itself. My Body Flows In Gravity shows Wild’s capacity to synthesize the deeply personal with the universally resonant, a set of tracks that equally speak to the introspective solitude as they do to the collective euphoria of the dancefloor.

Kike Pravda is back on his own label Senoid Recordings.
One year of work in the studio summarized in 8 tracks with his own and unmistakable style going further with new sounds and going into sci-fi techno in some tracks combining them with powerful weapons for the dance floor at peak hours.
This album is conceived to last for years.

2025 Repress

Following releases from Dublin’s Fio Fa & naive label head Violet, LA-based Cromie & Timedance affiliate rRoxymore and various artists compilation Visions Vol. 1, Holly Lester prepares the next chapter of dualistic bleeps, bloops and blends from Utrecht producer Tifra on Duality Trax. Re-imagining vintage club sounds through a contemporary lens, Tifra is no stranger to stretching the electronic music template into new forms and ideas. His left-field house and old-school breaks have found their way onto Gestalt Records and Rough Recordings, and here the producer turns in three cuts of blissed-out electronica, hedonistic progressive and jungle-run club with its sights firmly fixated front left, complete with a wicked remix from one of modern dance music's most reliable names Roza Terenzi. ‘Plastic Replicant’ is a vocal-laced electro-house roller that takes inspiration from the golden-era of 90s electronic music and fuses it with the organic, multi-genre blends of the current gen. The ravey continuum is laced with high-frequency vocal stabs and deep basslines designed for a heads-down approach on the dancefloor, before ‘Entomology’ captures the playful side of the club with its shape-shifting acid-lines, trance-licked melodies and kaleidoscopic blend of colour, feeling and mood. Out of the club and onto the beach, ‘International Waters’ is a trip-hop inspired, downtempo dub that will delight ambient and laid-back electronic-revellers with its chirpsing birds and aqua-like aesthetic, before Roza keeps the dualism alive with a stripped-back jungle flip of the original; the perfect score for the perfect daydream.

The Kid That Did is the fourth studio album from acclaimed rapper and Detroit staple, Babyface Ray. Known for his effortless, conversational flow and sharp wordplay, Ray has been building momentum over the past few years, and his latest project promises to be another milestone in his career.

Following the success of 2022’s FACE, which reached #3 on Apple Music’s all-genre chart and earned praise from outlets like Billboard and Complex, and MOB, which featured collaborations with heavyweights like Lil Durk and Blxst, Ray’s new work showcases an artist at the peak of his game. His recent singles “Green Carpet,” “Money On My Mind,” and “Understand” each pulled in over 1.5 million streams in their first week, setting the stage for The Kid That Did to be his biggest release yet.

Fresh off a label deal with EMPIRE and riding the success of his first RIAA-certified gold record, Babyface Ray’s influence continues to grow. After a sold-out tour and major appearances, including a performance on Jimmy Fallon and being named to XXL’s 2022 Freshman Class, Ray is ready to take things to the next level with The Kid That Did.

With his signature Detroit sound and an impressive lineup of collaborators including Bossman Dlow, Peezy, Fabolous, G Herbo, DJ ESCO & more, The Kid That Did is set up to be a defining moment for Ray as he solidifies his place in modern hip-hop.

"B-SIDES, REMIXES, RARITIES: VOLUME 3 & 4" is the second DLP in the master of mash-up's "SOUL MATES" series, compiling 15 more tracks from AMERIGO's extensive catalog. Featuring KENDRICK LAMAR vs. MARVIN GAYE, DR. DRE vs. CURTIS MAYFIELD, BLACK STAR vs. ARETHA, and many more.

Probably the most astonishing hard rock LP out of 1970s Spain, repressed by popular demand and this time offering a very limited transparent blue colour run.



THE STORM hailed from Sevilla and were acclaimed by both audience and press reviewers as one of the best rock bands from Spain. The combo was formed by the Ruiz Geniz brothers (Angel and Diego), on guitar and drums respectively, plus Luis Genil (organ) and José Torres (bass).



Their debut album, originally released on Basf in 1974, is one of the Crown jewells of Spanish hard rock, and changes hands for a small fortune among collectors all over the world, especially since its inclusion in Hans Pokora's 'Record Dreams' books.



This LP really rocks. It's high energy hard rock that follows the line marked by the big organ outfits of the era such as DEEP PURPLE, ATOMIC ROOSTER, BRAM STOKER, MEGATÓN...



It has also a deep classic prog sound root, which reaches the top on 'Un Señor Llamado Fernández De Córdoba'.



We are talking of one of the seminal Spanish hard rock LPs.

Marbles is the legendary 1970 proto punk / dance classic from John McLaughlin’s US debut album 'De?otion', recorded at the time in which he played on Miles Davis' Bitches Brew and taped the Record Plant session with Jimi Hendrix.
Marbles didn't just deliver jazz rock's most danceable 4/4 beat, played by Band of Gypsies / Electric Flag drummer Buddy Miles. It is also centered with a once-in-ageneration bass line performed by Billy Rich. Larry Young's otherworldly Hammond textures predate a lot of what synthesizers were about to do much later, and the blowtorch energy emanating from John McLaughlin's cranked amp went beyond what most would had dared during the defining era of heavy rock guitar. An apex achievement at the intersection of jazz rock, guitar rock and dance music without parallel, before or since.
Background: John McLaughlin arrived in New York in 1969 to join Tony Williams' new group Lifetime which also featured Larry Young and eventually Jack Bruce (of Cream). On the second day in town he found himself in the studio with Miles Davis, recording 'In a Silent Way.' His playing would also take center stage in Bitches Brew, Jack Johnson, On The Corner and several other Davis key works of his much beloved first electric era. In between a busy schedule with Lifetime and Davis, McLaughlin also recorded two solo albums in 1970, 'De?otion' with an all-electric group and ‚'My Goa|’s B?y?nd' as its acoustic counterpart. By the time he formed his group Mahavishnu Orchestra in 1972, John McLaughlin was firmly established as the most important practitioner of his instrument of his generation within and well beyond the emerging jazz rock / fusion genre, and he has continued to evolve and surprise until today.
Here, a thorough remaster is supplemented by a new and throbbing techno version by Stefan Goldmann.

The album’s title deftly gestures to the sheer vastness of astronomical dimensions, while simultaneously capturing the musical breadth within, where the eight planets are imagined as the eight notes of an octave. The work draws inspiration not only from earlier compositions —most notably Gustav Holst’s The Planets—but also from the rich astronomical and cultural contexts surrounding these celestial bodies. Here, the focus transcends direct citation of melodic motifs, instead embracing an intriguing conceptual approach on a meta level, unfolding in a series of vividly contrasting soundscapes. These contrasts shape a sweeping sonic journey, one that fully embraces the album format with both arms, inviting the listener to venture into realms both strange and wondrous, feeling the immensity of the interstellar space that lies between them. Contrast, after all, is the brushstroke that enriches our world.

Embarking on an auditory voyage, "Astral Guide" establishes the sonic framework that propels us into the boundless expanses of the cosmos. Its ethereal tones evoke the vastness of space, crafting a mood ripe for exploration within the realms of sci-fi. The subsequent tracks unfold like constellations, weaving a rich tapestry of sound that seamlessly marries cinematic soundscapes with pulsating, club-oriented rhythms. This album invites listeners to traverse its immersive landscapes, whether nestled in the comfort of home or dancing under the starlit sky, each note a guide through the transcendent experience of a nocturnal journey.

"Solar Flares" draws its inspiration from the awe-inspiring expanse of solar phenomena, capturing the majestic power of the sun as it reaches into the cosmos. This track resonates with the idea that energy, while vital, can also be a force of destruction when unleashed with overwhelming intensity. The composition beautifully mirrors the sun’s duality, where brilliance and devastation coexist, inviting listeners to reflect on the delicate balance between creation and annihilation. Through its rich textures and dynamic shifts, "Solar Flares" serves as both a homage to the celestial and a poignant reminder of nature's formidable power.

"Mercury – The Winged Messenger" embodies a meticulously crafted soundscape where artistry meets astronomy. The tempo of 173.6 BPM, derived from precise astronomical data, propels the composition into a vibrant realm that resonates with cosmic energy. Synthwave sound design intertwines seamlessly with the fluid rhythms of Drum’n’Bass, imbuing the piece with an uplifting dynamism that evokes the ethereal grace of Mercury itself. In this sonic exploration, listeners are invited to ascend on wings of sound, navigating the celestial tapestry of the universe with each invigorating beat.

"Venus, The Bringer of Peace" strikes a decidedly cozy note, presenting a poignant contrast to the more tempestuous themes often found in cosmic narratives. This composition evokes a nostalgic vision of an optimistic era, one in which humanity transcended borders and embraced the infinite possibilities of space exploration, where no destination felt too distant. The dense, languid atmosphere envelops the listener, creating a tangible sense of serenity that unfolds gradually, allowing for a meditative journey through sound. Each note serves as an invitation to linger in this tranquil embrace, reflecting on the harmonious potential of our collective aspirations and the beauty of connection in a vast universe.

The central theme of „Gaia, The Bringer of Life“ —originally not part of the planetary cycle— is the profound enabler of life on Earth. The arrangement delicately mirrors the slow, tentative unfolding of this potential, marked by an initially sparse orchestration that gradually builds in momentum. This progression crescendos, embodying the explosive dynamism of the Cambrian burst of life, ultimately culminating in a euphoric fanfare—a triumphant, celebratory flourish echoing life’s victorious emergence.

"Blue Moon" unfolds as a contemplative reverie on the tranquil clarity of a night sky, now seldom glimpsed in its natural purity, unclouded by the relentless haze of urban light. The listener is drawn into the vast embrace of the star-strewn firmament, a journey that sways between euphoric awe at nature’s sublime beauty and a profound melancholy for its fragile and imperiled state. Musically, this duality finds expression in the delicate interplay of modal mixtures, while an ever-shifting triplet groove, poised at the intersection of Outrun and melodic house, lends a pulse that is both nostalgic and forward-looking—echoing the beauty and transience of a world on the brink.

Rather than replicating the original composition of „Mars, The Bringer of War“, this interpretation seeks to evoke its profound, foreboding atmosphere. Cyberpunk emerges here as an ideal genre, channeling the dark, relentless march synonymous with Mars, the ancient god of war. The piece reverberates with intensity, as distorted vocalizations rise, embodying the anguish and visceral torment that shadow war’s violent crescendo. This auditory descent into conflict captures the relentless pulse of warfare, where sound itself becomes an embodiment of suffering and fury.

Majestically, "Jupiter, the Bringer of Jollity" emerges on the celestial stage, sweeping away the somber tones with its radiant vigor. Drawing inspiration from the triumphant strains of the original, and borrowing a melodic motif in the refrain, the piece expresses joy and buoyancy through a shift to a major key and the lilting sway of a danceable 12/8 meter. Spirited and exuberant, it leaps boldly from major to minor and back again, playfully shifting time signatures to capture a mood of unbridled festivity and jollity.

Here, a more conciliatory concept is chosen than in the original inspiration. „Saturn“ aligns with the number six, being the sixth planet from the Sun and bearing the iconic hexagonal pattern at its northern pole. What, then, could be more fitting than to render this piece in a 6/8 time signature? The arrangement unfolds with a multifaceted richness, mirroring the countless stones and ice fragments that form the foundations of Saturn’s majestic rings.

„Uranus“ adopts the theme of a light-footed, dancing instrumentation, giving the impression of perpetual motion, never quite settling. This musical choice harmonizes with the planet’s own orbit, as it spins with breathtaking velocity, teetering and swaying, seemingly unable to attain rest or stability.

The chill and vastness of the cosmos find expression in „Neptune, The Mystic“. At its core, an electronic soundscape envelops a classical arrangement, its unreachability intensified by an ethereal, otherworldly choir. Hovering at the outermost boundaries of the solar system, where warmth is but a distant memory, the composition lingers in a slow, contemplative tempo, evoking a realm where space for speculation stretches wide and silence reigns supreme.

Though Pluto may have lost its planetary status, and its companion Charon never achieved one, this shift in classification subtly aligns with the cosmic scale invoked here—one that mirrors the musical tradition of an eight-note sequence. Fittingly, the album closes with „Kuiper Belt“, a composition emblematic of the turbulence and vitality of countless smaller

celestial bodies that, though diminutive, find their rightful place within the vast architecture of the solar system.

They say nature is the greatest composer, shaping the universe with a symphony of chaos and order, beauty and danger. It is this duality that fuels the artistic vision of Edictum—a producer who, armed with a doctorate in chemistry, delves as deeply into the mysteries of molecules as he does into the depths of sound. In the tension between the vastness of the cosmos and the microscopic processes that dictate life’s rhythm, Edictum creates sonic landscapes that dissolve the boundaries between science and art.

His music is a story of contrasts—a sonic tale where the raw forces of nature clash with the intricate structures of human culture. Opposites intertwine to form a harmonious whole: the primal rhythms of the earth meet the celestial melodies of the cosmos, the rigid laws of physics blend with the boundless freedom of art. Edictum explores these polarities with meticulous devotion, each composition an expedition into uncharted soundscapes—a quest to give voice to the unfathomable.

With over 20 years immersed in the realms of electronic music, Edictum has honed a keen sense for rhythm and movement. His driving beats compel both body and mind into a hypnotic flow. Yet beyond the pulse of dance lies a complex framework of conceptual thought. Today, his creative focus revolves around holistic album projects—self-contained worlds with overarching narratives that embrace contrast and complexity. Each track stands alone as a fragment of the whole, but together, they weave a cohesive tapestry, much like the chapters of a novel that guide the listener on an emotional and sonic journey.

Edictum’s distinctive musical signature has earned him international recognition. With over 150 releases, many on prestigious platforms like the iconic *NewRetroWave* label, and collaborations with artists such as Jan Johnston, Azumi Inoue, Powernerd, and Turbo Knight, he has solidified his place in the global electronic music scene. His latest work, *A Cosmic Scale*, marks his seventh vinyl album and is released under his own label, *Echoes of Expanse*. The label’s name is no coincidence—it captures the essence of his art: echoes of infinity, the vibrations of the universe distilled into a singular sonic experience that carries the listener ever further into the boundless expanse of sound and space.

Last summer, after six months of diving into his vault and crafting new sounds, 15 tracks found their home on Deeleegenz's final playlist for this double vinyl album titled ‘Color Residues’.
Sozyone joined this journey by creating the stunning artwork. His distinctive bird designs now grace both the album cover and the labels of all four vinyl sides.
Limited pressing of 200 copies.

Boys Noize presents ONES and ZEROS OAZ, a new experimental record label with the mission of breaking open the space of possibilities for techno and beyond. Reflecting new modes of subcultural circulation and integrating music,
objects, and a pluralistic network of artists, OAZ debuts with the 22-track Bo compilation, including two Boys Noize solo tracks, one of them “Bvrning” (Vinyl Only), as well as tracks by Locked Club, Safety Trance & umru, DJ Babatr, Slim Soledad, Schacke, KFR, TINKERHELL, David Löhlein, MarcelDune, and more.

Embark once again on a captivating journey into the mystical world of Secret Feta, where time flows in all directions, and every sound holds a hidden secret. With the second volume of the Cheese Tricks compilation, the past, present, and future converge in an even more thrilling fusion of enigmatic grooves. Get ready for another unforgettable adventure through the soundscapes of the unknown.
Secret Feta invites you to delve deeper into the etheric world.

In the harmonious universe of Secret Feta, you’ll be transported through various aesthetics of the great family of house and techno.

Don’t mess with GOATS.

2025 Repress!!

THE VINYLBOX COLLECTION IS BACK REDISCOVER ALL THE BEST SONGS FROM THE CULT MOVIES OF QUENTIN TARENTINO. STARRING : JOETEX, ISAAC HAYES, DICK DALE, ELVIN BISHOP, JOHNNY CASH, AL GREEN, RICKY NELSON, LINK WRAY, ...

Mark Reeve returns to Terminal M with an impressive new version of his huge 'Golden'

“Ticket to Ride” marks the solo debut of Dandolo, member of the duo Maurizio & Dandolo. This time, Dandolo wins a lottery ticket and flies solo, away from his Adriatic coast, to Thailand where lust, love and broken hearts await him.

The single’s exotic flavour is highlighted in the B-side, the dub version by Cosmo Dance. The track is a total floorfiller, a DJ essential and dancers’ delight that nods in its production to the Eastern influences of the golden age of Italo Disco.

With “Ticket to Ride” ends the Italo Disco trilogy of Maurizio & Dandolo, started with “Natale in tangenziale” and continued with “Demin”. The track confirms Mirella Records’ commitment to craft exquisite Italo Disco instant classics, with a distinctive and authentic 1980s flavour, which echoes in the cheekiness of the lyrics and themes narrated.

"We regret to inform you that almost all of earth has been destroyed by criminals...
remain in Space where you are safe. We repeat, do not land Memory0."

Here at Four Flies, we kind of feel we need a bigger word than 'proud', this time, to present, in collaboration with Beat Records, the first-ever release of the original soundtrack written in 1976 by Guido & Maurizio De Angelis for the legendary Squadra Antifurto, the second chapter of the comedy-infused crime saga directed by Bruno Corbucci and starring Tomas Milian as the iconic Italian Police Marshal Nico Giraldi.

The excitement in this case is nothing short of gigantic, difficult to rein in for those who, like ourselves, grew up adoring the character played by Milian as one of our cult heroes, and dreaming that the soundtracks of the first three films in the saga – the only ones composed by the De Angelis brothers – would one day be released.

Since the launch of our label, Squadra Antifurto has been at the top of the list of film scores we most wanted to release. Until a few months ago, this dream of ours seemed destined to remain just that, so strong was the conviction in all of us that the master tapes were definitively lost, that they had forever vanished into thin air. That's why their recovery, made possible by Maurizio De Angelis himself and the persistence of our friends at Beat Records, is an extraordinary feat.

Nearly 50 years after it was first heard in cinemas, the soundtrack penned by the De Angelis brothers is resurrected in its entirety and can finally shine its incredible power all over us.

Beautifully seeping through this score – like many others composed by the golden duo in the 1970s – are elements from the Italian, and especially Roman, folk tradition, for instance in the warm, heartfelt ballad sung by Alberto Griso, "E nun ce voio sta," which first plays in the opening credit sequence and is then reprised in various forms throughout the film, culminating with the soul-stirring orchestral version that closes the album's tracklist.

But as in any Italian crime film worthy of that name, a different soundscapetakes centre stage: it's the music that accompanies the countless scenes of tension, action, and pursuit that punctuate the film, and which has made us fall madly in love with this score.

The main theme is a prog-funk joyride, drawing inspiration from the traditional tarantella but elevated to irresistible energy thanks to a rock orchestration featuring psychedelic flutes, wild percussion, distorted electric guitars, piano chords, and various feedback and delay effects.

The resulting groove is just mind-blowing, and we almost can't believe it's finally available on a record, completely remastered for vinyl.

We really couldn't be prouder, and dedicate this release to all passionate fans of Italian crime films, the De Angelis brothers, and Tomas Milian aka Nico Giraldi.

Available starting April 12th on standard black vinyl and limited coloured vinyl (transparent amber, limited to 300 copies).

Irish producer and DJ Casper Hastings returns to the label in full force with a 6-track EP titled “Recreational Murder”, unleashing a lethal mutation of electro, techno and jungle, the release showcases Casper’s versatility as an artist who garners clear-cut expertise in his field.

Nodding to its foreboding title, “Tangerine Meme” follows suit with an increased pace, woven together by squelchy synth work, wobbly bass and a gnawed up vocal scattered throughout.

“Reaper” lands with a pitched-up vocal riff opening the track; the word LSD later echoing through the ghostlike atmosphere laid out by a snappy pattern of snares and smoggy distortion. Peder Mannerfelt’s remix of the track comes as a curveball and flips the B-Side of the record, upending the previously understated but ominous tone with thundering drums, whiplike percussion and in-your-face high velocity.

“Ruthless Romance” continues on the rapid tip, this time highlighting Caspers long-running love for jungle. With a spirited UKG-tinged sample layered over clattering drums and hardcore bass lines with the celebrated genre, this is the track that brings a chunk of quick escapism. The deconstructed “Good Medicine” closes the record with the return of stabbing bleeps, intense kicks and swirling psychedelics accompanied by a grunt-heavy sample to reflect the EP's theme a sense of dread lurking behind every corner. Looping full circle to that initial cinematic feel, the final track / digital bonus “Akashita” marks his solo instalment on the label with palpable effect.

Manufactured in Dublin, Yin Yang Label 2025

Here comes a true South American LATIN JAZZFUNK treasure from Argentina!!!
Sound Essence is more than proud to present these lost recordings from 1974 to music lovers again in all their glory.
CARLOS FRANZETTI, who has once again been in the spotlight in recent years thanks to the re-release of his strong late 70s JazzFusion record "Graffiti", was also in charge of this record called DEDOS. The story behind:
In 1974, after CARLOS FRANZETTI was living in Mexico and worked as the musical director of FERMATA International, he returned to Argentina. In Buenos Aires his friend MOCHIN MARAFIOTTI was recently appointed A&R at the local recording label MUSIC HALL . Marafiotti asked Carlos if he wanted to record some of his music and he answered that he had in mind a group playing LATIN JAZZ . After a couple of meetings they came out with the idea of covering the RUBEN RADA tune DEDOS recently recorded in the US by AIRTO MOREIRA along with the OPA TRIO. Carlos contributed his own composition "Doce y Diez" . He selected the group consisting of his friend and member of the uruguayan Band TOTEM, Ruben Rada on percussion, Ricardo Lew on guitar , Emilio Valle on bass and Osvaldo Lopez on drums covering keyboards and vocals himself . This formation recorded tracks and vocals in a three hour session and the next day the track was mixed. Music Hall released "Dedos" and "Doce y Diez" on a single record and after months of discrete airplay and not so good sales the project for an album was draped.
"It is a rewarding experience to see a re-release of this two songs a half century after the original release.
It was hot and it looks and sounds even hotter now. I love it!" (Carlos Franzetti, New Jersey, December 2024).

Restoring balance to our series of earthly compilations, one that has brought to you an array of different artists, all with the collective goal of sharing the joy of exploring musical wonders with no borders, we have Earthly Tapes 04.

In keeping with the series so far, nature and electronica intertwine in unison to share a space as befitting to hedonistic dancefloor groovers as it is to homebound explorations. With this release, we have 7 wonderful artists expressing their creativity across 6 carefully curated tracks, with native roots connected to 5 different countries across South America and Europe.

2 years in the making and chopping and changing as it’s passed through the motions, what has remained is the concept behind it. On this edition, we're shining a light on a small portion of female producers within a music scene that we’re fortunate to be a part of.

Each artist that has carefully created a track for this compilation, has also contributed their beautiful crafts within the Organica/Folkloric/Downtempo scene and we’re truly blessed to be able to share them with you. The countdown to the release of this next chapter finds us coinciding fittingly with International Women’s Day.

DJ Support: Mousse T, Michael Gray, Sam Divine, Black Legend, Sgt Slick, CASSIMM, Grant Nelson, Steve Angello, Mark Knight and Carl Cox.

Another 4 tracks from Toolroom’s House imprint; Fool’s Paradise.

The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness (Matière Mémorie, 2023).

Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music’s gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive.

Recorded in sparkling fidelity and carefully mixed by Ambarchi’s longtime collaborator Joe Talia, the LP contains a single unbroken performance, stretching out for over 45 minutes. Guitar and drums weave together into a symbiotic whole that nevertheless affords us ample opportunity to marvel at the highly personal approaches these two musicians have developed to their chosen instruments through decades of diverse collaboration and prolific performance. The set begins with Thielemans’ hypnotic tom patterns, around which Ambarchi’s wavering, shimmering guitar tones—achieved with the help of the rotating speaker of a Leslie cabinet—flurry and swirl. Thielemans’ drums play subtle tricks with time and perception, adding and dropping beats within repeated patterns to create an effect at once rhythmically insistent and liquified. Growing at first into a rapidly pulsing texture of brushed drums and flickering harmonics, the music builds momentum into an irregular groove over which Ambarchi’s guitar is transformed into haunting, monumental electric organ chords, strikingly recalling the Wurlitzer work of Alice Coltrane, before settling into a section of gentle portamento melody embedded into the tactile clicks and clangs of Thielemans’ percussion.

When Thielemans adopts a more traditional jazz approach to the kit in some of the set’s second half, the results are stunning, demonstrating a feel for shifting accents and sensibility to the touch of the stick on the drum or cymbal that recalls greats like Jack DeJohnette or Billy Hart (one of Thielemans’ mentors). And when Ambarchi turns up the heat, he does so in an unexpected and delightful way, letting loose a swarm of jittering delayed tones straight out of Henry Kaiser’s classic It’s a Wonderful Life, with a more active use of the guitar’s fretboard than his usual approach to the instrument allows. As the performance draws to a close after a climactic episode of distorted harmonic groans and crashing cymbals that manages to be at once thunderous and carefully attuned to detail, it is clearer than ever that, for these two serial collaborators, this is a very special pairing.

Kind Regards shows us the kind of magic that can happen when two masters who have dedicated decades to reimagining their instruments simply begin to play, following the music wherever it goes.

Brochure is a new collaboration between Gee Dee, Miles Felix, and Nick Stropko. For their debut release, they opted to cover Joking by Celine Lomez, originally featured in Soft Rock for Hard Times Vol. 7. Drenching the arrangement with synthesizers and opting to record the tune half-time, Brochure recontextualizes the song into a longing ballad.

Osprey 2 is the latest nom de guerre of Ryan M Todd aka Paul Atreides, Tom Guycot, Darklord Disco, half of Private Sea, founder of Going Home Records and an instrumental part of Universal Cave productions and parties for well over a decade. Osprey 2's Version Verrückt flips the longing ballad into a funky, driving krautrock number for Side B.

The Universal Cave crew offers their Terrace Mix as a digital only bonus track. A stripped-down strummer for the summer, the Terrace mix is scenic overlook gear for the mind's eye.

Zackey Force Funk & XL Middleton return with cover versions of two tracks by Jonny Chingas, a legendary artist w/ a cult following in Chicano music scene on the west coast of the US. 'Hey MF' is a vocoder & synth drenched electro funk cruiser that's perfect for the dance floor or a boulevard cruise. 'Phone Home' was one of Chingas' breakout tracks that actually got heavy club play in the UK, and is given the modern boogie funk treatment by ZFF on vocals & producer XL Middleton.

Spanish imprint Clock Poets returns with its sixth release, a nicely curated three-track V.A. that brings together Dan Andrei, Root, and label founders Marco and Javier (Clock Poets). Aptly titled Surrealism, the EP explores different shades of minimal techno and micro-house, offering a dynamic range of textures and grooves.

Dan Andrei sets the tone with 'Si Un Ecou' (A1), a stripped-back, bass-heavy roller with a raw, hypnotic energy. Laced with eerie, Hitchcockian tension, the track simmers with understated menace until a burst of heavily modulated synth chords cuts through the groove like a sudden flash of light — turning the mood on its head. Subtle yet striking creative decisions like these highlight Andrei's refined sonic evolution. On (A2), Root's 'Apophis' is a swing-heavy slice of classic micro-house. Shuffling drum patterns dart unpredictably, locking the dancefloor into a stealthy groove while growling synth textures add an air of mystique and atmospheric tension. A nod to the golden era of the genre, yet firmly grounded in the present.

Clock Poets close the EP with 'Galaxy' (B1), a sprawling 14-minute live-recorded behemoth, through microscopic sound design and intricate rhythm programming. Filtered, syncopated drum patterns weave through evolving bass stabs and delicate melodic fragments, crafting a hypnotic groove that pulls listeners deeper with every loop.

"Surrealism" is a carefully balanced record with a range of moods and styles for the lovers of thoughtful minimal dance music, and yet another compelling addition to the Clock Poets catalogue — refined and immersive.

Dirty Hands dug deep into the crypt and unearthed a hidden gem: Polant, a previously unreleased track from the early 2010s, a golden era of the Amsterdam house scene.

Known only from Polder’s live sets, this lost treasure was crafted by iconic artists of the time: Polder (Lauhaus & David Labeij) and Anton Pieete. To complete the release, Sweden’s finest Dorisburg and Parallax Deep deliver impressive remixes, sealing the deal in style

After a Classic/Defected release and a string of edit projects/remix work Snips returns to his own Barbershop Records for his latest release "Blasphemy", a project drawing solely on Gospel samples from Snips' personal collection. Barbershop sticks with the theme of re-imagining the past to create something new while continually offering an alternative to todays mainstream. With Gospel music being the least commodified of its contemporaries yet the most essential element of them all, it would seem the perfect sample source for a Barbershop release and a sonically perfect fit for Snips' brand of Hip Hop, Soul & House inspired beats. From future club friendly anthems like "Feed The People" and "Feel The Spirit" to the true school Boom Bap sensibilities of "Pattersons Pilgrims" and "Never Waltz Alone" this release has all bases covered.

Where to begin with a figure like Simon Fisher Turner? From teenage stage and screen star to illustrious recording artist for Creation and Mute and score composer of Caravaggio, Blue and The Epic of Everest - via a stint with The The and collaborations with Derek Jarman, David Lynch and Tilda Swinton - Turner embodies a distinctly British sensibility and boundless curiosity for sound. For A Colourful Storm, discovering Deux Filles, his mysterious project with Colin Lloyd-Tucker that has since been reissued by Dark Entries, was a significant moment in shaping their identity.

In August 2023, A Colourful Storm presented Simon Fisher Turner and Time is Away at Spanners, London. Performed at the tail end of Blue Now, a series of events celebrating Derek Jarman's last feature film, Blue, the recording reveals a lifetime of significant events and influences. Terre Thaemlitz's remix of Turner's Shishapangma (Comatonse Recordings, 2015) is reworked and appears on vinyl only, Jarman is privately recorded reading White Lies, Bertrand Russell is sampled, and Turner records his brother practising the Great Rissington organ for their father's funeral.

"My wife and I lived in Brixton, near the venue, on Coldharbour Lane, 20 years ago. We were above a takeaway shop. The air extractor was a nightmare and the flat smelled of grease. The market was a great place to buy fish. We adopted a giant snail, who we called Ayrton. I used to take him all over town and he loved lettuce and tomatoes. There was a wonderful small pizza shop too, which was so delicious. But back to the music. Brixton is music and I'm a lucky man."

Parade Ground march back to Dark Entries with The Hidden Side, a compilation of B-sides and unreleased material. Brothers Jean-Marc and Pierre Pauly started Parade Ground in Brussels in 1981. Their Dada-laced brand of post-punk fuses propulsive drum machines and icy synths with skeletal guitar riffs and Jean-Marc’s distinct and powerful voice, pioneering the subgenre of emotional body music. The brothers met Daniel B. and Patrick Codenys of Front 242 in 1982, marking the beginning of an enduring collaborative partnership. In 2011, Dark Entries released The Golden Years, a compilation chronicling the band’s A-sides and exposing them to a new generation of EBM enthusiasts. The Hidden Side continues this mission, illuminating lesser-known facets of the band’s oeuvre. The tracks here were written between 1982 and 1989, and showcase Parade Ground’s range of styles - all cold, dark, and brooding. Tracks like “Riddle in the Stain Glass Window” and the previously unreleased “Looking Through Keyholes” see the band in menacing coldwave mode, rocking chorus-drenched bass guitar and blasts of analog synth. The band’s dancier proclivities shine elsewhere, like on “Off-Balance” or the supremely funky “Hollywood (The Sexiest Fish),” a floor-filler driven by bass guitar and thumping digital drum machine beats. Also included is “Marble Mind,” a previously unreleased latter-period track from the band recorded by Patrick Codenys at 242 Studio. The Hidden Side includes liner notes featuring lyrics and a photo of Jean-Marc and Pierre Pauly. Additionally, a newly remastered edition of The Golden Years will be released along with The Hidden Side.

Parade Ground has always been the duo of brothers Jean-Marc and Pierre Pauly from Brussels, Belgium formed in 1981. Taking cues from Post-Punk, Coldwave, Dada and Surrealism, Parade Ground channeled suffering, tension and rage through pulsing synthesizers, skeletal guitar, severe bass and Jean-Marc’s expressive vocals as the most melodic and emotional instrument. The Golden Years is an 11-song, career-spanning collection of Parade Ground’s long out-of-print 7” and 12” singles as well as rare compilation tracks from the pioneers of electronic body music created during 1982-1988.

Parade Ground first appeared on the Nationale Rockmeeting LP in 1982, striking straight to the heart with the passionate plea “I Shut My Eyes.” Later that year the brothers met Daniel B. and Patrick Codenys of Front 242 beginning a collaborative partnership that continues to present day. In 1983 they released their debut 3-song 7” EP Moan On The Sly on the New Dance label, musically a hybrid of Joy Division and Fad Gadget. 1984 brought further explorations into the world of electronic body music with the 3-song Man In A Trance EP and 2 tracks on the live concert compilation Mask Promotion both records released on Front 242's Mask Music label. The following year the single Took Advantage/Moral Support 12” was released incorporating then, state-of-the-art modular synthesizers programmed by Daniel B. and back-up vocals from Flo Sullivan (A Formal Sigh, Shiny Two Shiny). Then in 1987 the brothers collaborated with Colin Newman of British post-punk band Wire, who produced and lent his vocals, guitars and keyboards to two songs ("Moans"/"Action Replay") while Daniel B. produced flipside "Gold Rush" on the Dual Perspective EP that stands alongside 80s anthems from Tears for Fears, Modern English, Echo & The Bunnymen. Finally in 1988 their debut album Cut Up was released on Play It Again Sam Records and featured the singles Strange World and Hollywood. In 1993 the brothers wrote and composed the vocals on two Front 242 albums Up Evil and Off. After 15 years of silence the boys released their second album Rosary in 2007 and continue to write new material and tour with their extensive catalog of dark dance classics. Each LP includes a 6-page press kit with lyrics, discography, photos and liner notes by Daniel B. of Front 242. The history of Belgian electronic music would not be complete without a trip through “The Golden Years” of Parade Ground.

Electronic music has never been solely about the music itself or its fame. It has been a fight, a totem. Every week it becomes a universal communion, a celebration, a reconciliation with both ourselves and others. No frontiers, no territories, no certainties other than being as authentic as possible.

As a musician and producer, after five albums, I clearly know that my proposition will always be about diversity more than a single crafted sound. This is how I am: multifaceted, nourished by social human exchanges and my encounters in science, art, and technology. I have one life and different bodies. I can be physical and digital, technological and organic, house, techno, and soul. This album is about shedding light in a vertical period where the fight for truth and visibility becomes crucial, where Blockchain might become our right to vote. It's about making complex things sound simpler, joining the dots. A proposition more than a promise: Unshadow.

The metamorphosis is happening; embracing all generations on the same song with Nile Rodgers and Madison McFerrin! Embracing the diversity of backgrounds, styles, and geography, from Sacha Rudy to Dominique Fils-Aimé (Canada), through Natalie Sade (Australia). As a citizen of the world, having traveled endlessly for 30 years now, I know how lucky I have been to experience and experiment with various situations. If this album can simply share some of the joy I have received and spread some goodwill and white magic to the listener, I will be the happiest seeing the light that chases away the shadow.

Boooo ! Spooky Wooky returns with its second release, Fast Blood. A spine-chilling collection of dark beats and eerie atmospheres, for those who crave the thrill of the dark, the unknown, and the mysterious. Let the haunting beats take over and dance !

SEVENs first VA introduces seven new names to the label.
Kicking off this VA is vinyl enthusiast Sol Ortega with her fast paced track Dabz. With 4 r Luv, Posture created a melodic house tune that is sure to put you in a good mood.

Mastermind producers, Bailey Ibbs and Fergus Sweetland, join forces under the name DD Boys on their track Cannot Stop. Retromigation delivers old school tech house vibes with a touch of hip hop and funk in his track Cariati Feels
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The G in Baka G stands for groove, and The Blue Spirit is real proof. CucaRafa delights with his debut track as Oliver Benji in Voice Mail.

Finally Ackermann rounds out the VA with another, more fast paced tune called Make You Wanna Do Right, sitting in the sweet spot between house and techno.

Listen to all the pearls of Electronic Music withe the releases dedicated to House, Techno & Drum"n"Bass, sélected by the REXCLUB in a doble vinyl collection ! DISCOVER THE NEW VOLUME OF THE REX CLUB COLLECTION : THE DOUBLE VINYL DRUM"N"BASS With : Roni Size * DJ Gilb"r * Phume * Goldie * Tek 9 * Special Request * Rockwall * Aquarian * LU2K * ...

Never to rest on his laurels, Pronsato returns with two motif based tracks on Logistic. In this new work, Pronsato stitches four motifs together over two tracks (plus two digital only outtakes). Vocals, marimba, piano and pads are the forces at work here. Each playing a game of peek-a-boo throughout the four pieces...

Pronsato's approach to each of these compositions highlights his mastery in balancing complexity with accessibility, allowing each motif to shine individually while contributing to the overall narrative arc of the four pieces. Think ECM in the 80s meets Morton Subotnick...With dance stuff thrown in for good measure.

In ihrer bisher zwölfjährigen Band-Historie veröffentlichten Nicolás Jaar und Dave Harrington, zusammen bekannt als DARKSIDE, die beiden Alben ""Psychic" (2013) und ""Spiral" (2021). Mit ihrem langjährigen Freund und Kollaborateur Tlacael Esparza als neues Bandmitglied und Schlagzeuger kommt jetzt ihr drittes Album ""Nothing". Das Ergebnis ist faszinierend und vielschichtig. DARKSIDE schmücken ""Nothing" mit prägnanten Rhythmen, verzerrten Vocals und kreieren eine ganz eigene, wie ungewöhnlichen Ästhetik.

Um die Entwicklung zu verstehen, muss man die Hintergrundgeschichte kennen: Jaar und Harrington lernten sich in den frühen 2010ern während ihrer Schulzeit in Providence kennen. Während der Tour zu Jaars Solo-Debütalbum fand eine spontane Aufnahmesession an einem freien Tag in einem Berliner Hotelzimmer statt. Die Session war wortwörtlich brandheiß, denn sie endete mit durchgeschmorten Lautsprechern. Der Raum füllte sich mit Rauch und der an diesem Tag entstandene Song wurde ihre erste gemeinsame Single ""A1", DARKSIDE war geboren.

Zwischen den ersten beiden Alben legte das Duo eine sechsjährige Pause ein. In dieser Zeit verfolgten Jaar und Harrington jeweils eigene kreative Wege: Jaar etablierte sich als Solokünstler und Produzent, während Harrington als innovativer Gitarrist und Experimentalmusiker die Underground-Szene in L.A. aufmischte und die Rock-Band Taper"s Choice gründete. Die Geschichte setzt sich dann im Herbst 2022 in Los Angeles fort als das Duo eine Reihe von Shows buchte, um sich nach acht Jahren erstmals wieder als Live-Band zu vereinen. Esparza kam als festes Mitglied hinzu und veränderte grundlegend den Klang und die Energie der Band. Die Idee von ""Nothing" entstand während der Suche nach Achtsamkeit und Harringtons stillen Momenten mit seiner neugeborenen Tochter, in denen er Schönheit im Nichtstun fand. Für Jaar wurde ""Nothing" zu einem Symbol für die allgegenwärtigen, wie überwältigenden Probleme, unausgesprochene Gefühle und den Stillstand in globalen Krisen wie Klimawandel, politischer Heuchelei und wiederkehrender Gewalt.

Bonus unreleased Dj.Mc mix on Side B.

Limited run of cassettes, full on body print & double sided J-card, design by Ciaran Birch.

Over the last couple of decades, Dj.Mc (Hyperdub / Planet Mu / Good Street) has been consistently laying down release after release. His unique take on footwork catching plenty a ear, beginning with his single 'Y Fall' on Mu's VA compilation in 2011. Fast forward to 2025 and he lands on UK label Accidental Meetings, a shapeshifting & forward thinking imprint.

A Strangely Isolated Place presents a long-lost collaboration between Polish artists Olga Wojciechowska and Tomasz Walkiewicz as Monoparts—a partnership formed many years ago that resulted in an album once destined to remain unreleased.

Olga Wojciechowska, known for her modern-classical masterpieces such as Infinite Distances (2019) and Unseen Traces (2020), as well as her 2022 collaboration with Scanner, breaks all known expectations with Soothsayers. In a dramatic departure, Olga unveils a new and unexpected side, debuting her haunting vocals—a delicate, spellbinding performance that recalls the golden era of trip-hop, and comparisons to the sounds pioneered by Tricky, Massive Attack, and Martina Topley-Bird.

With Tomasz adding layers of depth through intricate beats and electronics, Olga’s voice becomes the emotional core of the record, conjuring an intimate and nostalgic atmosphere.

"This album is like becoming one with the earth itself—feeling the rawness of the wood, tasting the earth in your mouth, and sensing the presence of ancient spirits. The music carries a deep, primal energy, like being part of the forest, with creatures watching you from the shadows." - Olga Wojciechowska

To complete the journey, ASC lends his signature touch with a stunning drum’n’bass reinterpretation, amplifying the album’s nostalgic essence. Soothsayers emerges as a spellbinding ode to times gone by, in more ways than one.

Featuring artwork by Moon Patrol, with mastering and lacquer by Andreas LUPO Lubich.

Celestial Echo returns with a divine new release to kick off what will be a strong 2025, highlighting two iconic tracks from West Virginia’s 'The Swan Silvertones'. This 7-inch vinyl features the dancefloor hitter, 'If You Believe Your God Is Dead, (Try Mine),' backed with the soul-soothing 'He's Sweet I Know.'

Originally recorded during their golden era in the early 70s, this has to be some of the funkiest gospel to ever be pressed, once it’s in your record bag, it wont be leaving in a hurry.

Now reissued on 7-inch vinyl for the first time in years, this release features carefully remastered audio and presented in a freshly designed sleeve with updated original labels, it’s a must-have for fans of gospel and soul.

Pressed and distributed by Prime Direct Distribution—buy or cry!

A 90s house staple from Nu Groove pioneer Rhano Burrell as Aphrodisiac, ‘Song Of The Siren’, is rereleased alongside three new edits and remixes from industry tastemakers.

First up on this four-track vinyl package, British underground leader Bushwacka! adds his production expertise to the iconic record, followed by two transformative remixes; the first from Japanese hip-hop DJs Dazzle Drums and the next from Girls of the Internet frontman Tom Kerridge’s electronic project The Gospel of Thomas. Rounding out this must-have collection is Rhano Burrell’s original Mediterranean Mix, ensuring audiences are reintroduced to ‘Song Of The Siren’.

Zongamin and Mytron reunite on Multi Culti with an album of collaborations. Exploring the depths of leftfield outer nationalism these two mainstays of our global family serve up a colorful array of mind-altering disco and interdimensional dub. Tribal motifs merge with field recordings while synthesized animals call out over exotic hand percussion. Jams on vintage synths meet 8-bit sampling bounced onto spring reverbs and digital delays from the 80s. Started mid-pandemic, this collaboration ignored the surrounding havoc and social distancing, instead focusing on Good Vibes TM and positivity with a genre-defying approach belying trans-continental origins. The result is a playful symbiosis that is Phatter than the sum of its elements. Mytron is Jacek Janiszewski, a pan-European multi-instrumentalist, producer and DJ, born in Poland, raised in Holland and Germany, and now living in London for the best part of a decade, his releases, for labels including XXX, Codek, Bordello A Parigi, Multi Culti, Nein and Les Yeux Orange, herald a similar nomadic spirit. Zongamin, Susumu Mukai is a composer, producer, and illustrator based in London. He has released records on Multi Culti, Flesh Records, XL recordings, Ed Banger, ESP Institute, and AD93, and has remixed for Air, John Cale, Trevor Jackson, Sandro Perri, and others. He is a member of groups Vanishing Twin, V/Z, Holy Tongue, and Stalactite.