Buscar:t time

Spatial stalwart and ambient master Aural Imbalance returns for a fresh slice of atmospheric heaven with Unknown Universe. A1 - Alien Lifeform A serene, distinctly atmospheric synth intro with light hats introduces Alien Lifeform, Aural Imbalance toying with filtered breaks and a deep bassline which ushers in trademark melodic pads and a thoughtfully constructed amen pattern. Rolling and intense, the track embodies Spatial’s love for the floor as well as the absorbed listener, nodding along to the laid-back rhythms on the 2am train home. A2 - Indigo Soothing, calming synths create an evocative introduction peppered lightly with cymbals and gentle intrigue, before the Circles break takes center stage with a delightfully constructed and crisply programmed pattern. A spirited breakdown with a subtle trance-like quality ensues before the breaks take over again, all set to a suitably earthy 808 bassline humming away below. AA1 - Empty Universe Deliciously clean and chunky Hot Pants breaks provide a DJ-friendly intro to Empty Universe, a blissful rolling track which sees Aural Imbalance fusing incredible 80’s synthwave vibes, rolling deep basslines and micro melodies with that timeless and evocative break - programmed to perfection - culminating in a stunningly atmospheric piece, fresh for the discerning listener - just as we like it at Spatial. A2 - Lunar Phase Kick back as Aural Imbalance closes the EP in fine form with a leisurely trip to the dark side of the moon. Lunar Phase opens with a short intro featuring sullen tones and light hats before a hypnotic break pattern takes over proceedings, and airy padwork circles above. A meandering melody builds throughout the piece and develops its final form during a luscious breakdown, and through the closing stages of this truly beautiful track. Words by Chris Hayes (Spatial/Red Mist)

Kenny Dope - the legendary DJ and producer - has been a central figure in the incredible Spring Revisited series, launched in 2025. A collaboration between Acid Jazz and Ace Records, the series has explored the legacy of Spring Records, with a run of sell-out vinyl releases, digital singles and a 2LP compilation, with new mixes from the biggest names in dance music and remix production. The series continues with this new 7” single: ‘Spring Revisited vs. Kenny Dope - The 45 Mixes’.

It pairs an edit of Kenny Dope’s mix of ‘Mucho Macho’ by Macho with the mix of Millie Jackson’s ‘Don’t Send Nobody Else’ he created with Swedish producer Magnus Frykberg. Macho was an alias for the mighty Fatback Band, who are central to the Spring legacy, led by the great Bill Curtis (and co-writer of Mucho Macho), while Millie Jackson is one of the great voices of modern soul. Soulful and dance-floor ready, this 7” arrives fittingly in time for spring.

LP Transparent Purple Vinyl in Picture Sleeve

The essential debut album from Chicago’s disco-funk pioneers, featuring the timeless “Free Man,” returns fully remastered from the tapes of Tom Moulton for RSD 2026. Produced by Philly soul legends Bunny Sigler and Bruce Hawes, this record bridges Chicago’s raw energy with Philly’s orchestral elegance. Essential for any collector serious about the roots of disco and dancefloor culture — an all-killer, no-filler LP that sounds fresher than ever today. Remastered and Redesigned labels and sleeve, Transparent Purple Vinyl.

Stevie Cox and Ansboy: two powerhouses of the Glaswegian club scene join forces for their collaborative debut EP on Rhythm Section INTL- ‘Twice Like Rice’. It’s a weighty four-track EP designed for the dancefloor, taking in myriad influences from dub techno, breaks, trance and good old fashioned house music. The Ep is full of deep, pulsating rhythms, lush textures and emotive peaks - all road tested in Stevie’s Iconic home turf: Sub Club.

Stevie Cox has long been a name long ruminating on everyone's lips, as a resident DJ of the iconic ‘Sub Club’ with an ever-growing tour schedule and back catalogue of releases via the likes of Klasse Wrecks and Optimo. Whilst the name Ansboy may be new to some, it is a fresh alias for the grammy nominated producer and mixdown engineer Robert Etherson who has long been a staple in the Scottish scene with an international touring repertoire under his belt.

The two friends met in their hometown of Glasgow and began their musical journey together last year after Robert taught Stevie how to do mixdowns. The pair clicked effortlessly, quickly discovering they shared the same passion for emotive, deep and progressive dance music. Their first track together - which took shape in the form of ‘Drift’ - a high-energy synth led anthem, came out with a special selection of tracks curated by Bradley Zero for his exclusive SHOUTS Summer sampler in 2025.

For the Twice Like Rice EP, their work evokes all corners of the dancefloor, kicking things off with ‘GC’ - a peak time breaks-infused trancey-heater - a master class in building dancefloor tension which gives way into a searing crescendo. Things spin towards a darker percussive focus on the more intense ‘Twice Like Rice’.

On the b-side things return to blissful euphoria with ‘Virgil’ - a warm up dub-techno ballad, before the emotional release of ‘Subculture closure’ inspired ‘Carter21’.

For its eighth release, Distant Gaze welcomes Ruksby with Phosphene Cognition, the artist’s debut EP on the label. Known for his hypnotic acid energy and cold, driving groove, Ruksby has developed a distinct sonic signature resonating with both classic rave devotees and listeners of indie-leaning electronic music.

The EP opens with two original cuts. “Imagination” moves in a trancy and hypnotic direction, where slow pulsating TB-303 lines and drifting acid leads unfold through a dark, steady groove. “Illusion” follows with a sharper, more aggressive edge, pushing acid frequencies and overdriven synths into tighter late-night territory. Both tracks stand as focused dancefloor pieces driven by Ruksby’s balance of tension and intensity.

On the B-side, two remixes expand the release. Long-time label friend Mike Sacchetti delivers an acid-driven dancefloor weapon built around a relentless pulsating bassline. Closing the record, Rambal Cochet offers a Goa-inspired chill-out reinterpretation, providing a calm and spacious conclusion.

35 Years of PROJECT PITCHFORK – The legendary debut ‘Dhyani’ returns! There are albums that make music history. And then there is ‘Dhyani’. For the 35th anniversary of PROJECT PITCHFORK, the debut album of the German electro-industrial pioneers is celebrating its triumphant re-release. Back in 1991, ‘Dhyani’ marked a milestone: a work full of energy, innovation, and dark beauty that revolutionized the scene and forever shaped the sound of PROJECT PITCHFORK. With this album, band founder, creative engine, and visionary Peter Spilles proved impressively that electronic music can be far more than dance beats. It can tell stories, unleash emotions, and connect generations. Now, 35 years later, ‘Dhyani’ returns in new splendor. For this special anniversary, the album has been carefully and expertly remastered by none other than Robin Schmidt (24-96 Mastering). Every tone, every nuance has been meticulously refined to preserve the timeless character of the songs while revealing fresh details that make the album feel even more powerful and vibrant today. ‘Dhyani’ is more than a debut. It is a testament to Peter Spilles’ creative force—an album that created sonic landscapes still captivating to this day. For fans, collectors, and new listeners alike, this re-release is a unique opportunity to experience a piece of music history in its purest form. Immerse yourself in the world of ‘Dhyani’ and feel the power that began 35 years ago and remains unbroken to this day. - Classy black vinyl - 2x180g 12” vinyl - All discs newly remastered for vinyl - Audiophile vinyl – German pressing - Sturdy cardboard sleeve - Printed inner sleeves containing all lyrics

Fresh from releasing projects on Method 808 and Future Classic, landing a huge collaboration with Chloé Caillet, and delivering an official remix for Fatboy Slim, PPJ are entering a new chapter in full force. Their expansive take on global street sounds, ranging from neoperreo to Miami bass, gets a cool re-coating.

Led by the magnetic vocalist Páula, with production from Povoa (individually supported by Four Tet, Ben UFO, and Barry Can't Swim, with recent releases on Live From Earth), the duo operates in maximalist mode: playful, sensual, and slightly unhinged.PPJ’s new era, JOKER, embraces a figure that appears everywhere from card decks to carnival culture as a symbol that mirrors their own DNA: funny, eerie, seductive, unpredictable. The EP leans further into club territory, but rather than polishing their edges, PPJ amplify them.

At the emotional core of the record sits “Coeur,” co-produced with Chloé Caillet. It begins with an MPB-tinged foundation flirting with bossa nova. It’s unmistakably Brazilian, bathed in sunset hues before being sped up and twisted into a dance-floor-ready electronic form. The groove shimmers with tension: warm percussion, elastic basslines, and Páula’s voice hovering between intimacy and tease. It feels like a remix of itself, romantic, but slightly untrustworthy.

If “Coeur” glows, “To Nem Ai” is a slow burner. A very deep and downtempo house cut, it unfolds slowly, almost luxuriously, guided by sensual vocals that feel whispered directly into the ear of the listener. A hypnotizing piano sample that feels like a late-night confession. It’s the kind of record that transforms a dancefloor into something tactile.

Elsewhere, “Me Pega” is a high-energy reinterpretation of the tech-house sounds from Santa Catarina, one of southern Brazil’s most feverish party states, twisted and accelerated for ferocious impact. Drawing direct inspiration from Sarro, a raw and vibrant Brazilian street dance, the track captures physical intensity in its purest form: sweat, bass pressure, collective release.

Its counterpart, “Tem Carnaval” channels Páula’s vivid storytelling into a thunderous ode to Rio’s carnival spirit, euphoric, chaotic, cinematic landed just in time for this year’s celebrations.

On “Sexy Doce,” rugged electroclash melodies collide with unexpected references. “It was inspired by Budots, which is dance music from the streets in the Philippines,” Povoa explains. “Then we mixed it with Páula’s Brazilian vocals. Baile funk is similarly from the streets, so there is a connection.” The result is raw yet futuristic, a cross-continental flirtation that feels both underground and explosive.

With this new EP, PPJ make music like they’re tuning into a dozen pirate frequencies at once. Pirate radio from Rio to Berlin to Manila intercepting fragments of street culture, sensuality, and chaos, and stitching them into something deliriously cohesive.
JOKER doesn’t just nod to club culture. It challenges it, twists expectation and leaves a lasting impression.

"Music, like love, surprises you, makes your heart race, gives you new eyes with which to look at yourself in the mirror..." (Gigi Masin)
With an exclusive presentation by GIGI MASIN, UP TO 23 release their second album, now with an expanded three-member lineup following the permanent addition of ENRICO CONIGLIO over the founder members MARCO BUFFETTI and FRANCESCO FINCATO. The album draws inspiration from the 1980s, evoking atmospheres reminiscent of sci-fi soundtracks. Partly romantic, partly doom ambient, the work unfolds as a requiem for our planet. Liquid and enveloping atmospheres drift between melodic ambient territories — explored through processed guitars and synthesizers — and soberly electronic paths traveled to the rhythm of sequencer-driven patterns and programmed structures.
Dramatic and evocative moments emerge throughout this succession of varied yet perfectly integrated and fluid soundscapes, where sounds and progressions combine with ever-shifting solutions, following a descriptive thread that remains consistent as it continuously unravels through encompassing and emotionally engaging textures. AN APPLE A DAY YOU DIE ANYWAY is the perfect soundtrack to these dark times that UP TO 23 want to color in order to continue to hope, to live without having to survive.

Convertible returns to Sweet Free Association with a set of three driving house cuts!

"Sweet Free Association kicks off the year with the return of one of last-years breakout producers Convertible offering up his latest sure shot for the label.

The Free EP reflects its name - a package of cathartic music that is just asking to be played out late and loud in the club - but as always with Convertible, it has that timeless and beautiful quality - these tracks are for life!

Up until this point, Convertible has been a very mysterious figure, with very little online presence, but with this his second EP (and arguably a more upfront release), Free not only proves that he is more than a one hit wonder, but 2026 could be his year!"

All tracks written and produced by Convertible.
Mastered by Frank at The Carvery.
Comes in gradient-coloured sleeve.

Silvana Rossi emerges from the new wave of Italo revivalists with a sound that feels both timeless and sharply contemporary, where vintage drum machines, analog synth lines and nocturnal romance collide with a modern club sensibility. Rooted in classic Italo disco but filtered through today’s underground circuitry, her music speaks directly to selectors navigating the space between wave, electro and slow-burning techno. The tracks carry a distinctly personal edge—melancholy, desire, and late-night introspection wrapped in icy melodies and hypnotic grooves. This is music made for dimly lit booths, smoke-filled basements, and DJs who still believe in storytelling through vinyl.

A seductive opener “Elixir Of Love” built on cascading arps and a steady pulse, romantic but restrained, like a whispered confession over a rolling bassline. Perfect for setting the tone early set. Tension-driven and emotionally charged, italo anthem “Breakdown” balances crisp electro rhythms with a sense of inner collapse. A cold wave-leaning cut that hits hardest when the lights stay low and the energy turns inward. Shades Of The Night – a cinematic slow-burner drenched in shadow and atmosphere. This one is all about texture and space. Walk In The Night, another italo classic on the EP, stripped-back and hypnotic, with a confident groove that nods to classic Italo while staying firmly rooted in modern club aesthetics. “Bad Girl” brings a sharper, more playful edge, driving, stylish, and slightly dangerous. A weapon with crossover appeal for electro and wave crowds alike. A versatile tool for both warm-ups and deeper moments. Emotionally direct yet sonically controlled lush pads and restrained vocals create a sense of distance that pulls you in “Don’t Leave Me”. A melancholic highlight for DJs who know how to play with tension.

Some records feel like they should have existed. This is one of them.Originally buried as an album cut in the catalog of C. C. Catch, ‘Stop – Draggin’ My Heart Around’ never received the maxi single treatment it always deserved. For decades, fans of Dieter Bohlen’s signature sound have been left wondering what could have been… no extended mix, no dub, no proper club version… Until now.

Julie Chrome steps in with a strikingly faithful reinterpretation, capturing the emotional tone and melodic essence of the original, while Ryan Benson carefully reconstructs the sonic blueprint, staying true to that unmistakable mid-80s German disco aesthetic of Luis Rodriguez. Think shimmering synths, tight Linn-style drums and that bittersweet, dramatic tension Bohlen/Rodriguez and Co. perfected. But this release goes further than nostalgia. On this maxi, the track finally unfolds the way it always should have. Fully extended, club-ready, and built for the dancefloor. The Long Version delivers that essential 80s arc: slow build, emotional lift, and extended instrumental passages made for mixing. The Dub Version strips it back into a hypnotic tool, pure drums, synth stabs and atmosphere, tailored for late-night transitions and deeper sets. The Radio Version and Alternative Radio Version complete the package, offering two concise takes that still retain all the charm, drama and melodic punch of the original composition. This is more than a tribute, it’s a carefully crafted time capsule. From the production to the artwork and label aesthetics, everything here is designed to transport you straight back to 1986. For fans of classic German disco, collectors of lost Italo-adjacent gems, and DJs who know the power of a well-placed nostalgic moment – this one hits deep. A record that finally corrects history.

Some tracks don’t age, they just wait for the right dancefloor to hit again.

Originally released in 1985, Main Attraction by Toronto-based duo Yoh-Yo is one of those high-energy sleepers that quietly tore through clubs while never fully crossing into the mainstream canon. Produced by maestro Allan Coelho (Tapps, Click) and driven by the instantly recognizable vocal of Carlos Borges, it’s a pure shot of mid-80s Hi-NRG euphoria. Tight, glossy, and unapologetically emotional.

Fast forward to now, and Vintage Pleasure Boutique digs deep into the archives of Boulevard Records to deliver the ultimate collector’s package, bringing together all six officially released versions from the original 1985–86 pressings across Europe, Canada and Mexico. But this isn’t just a reissue, it’s a full-spectrum reconstruction of a club weapon.

From the Original Version, still hitting with that raw, uplifting drive, to the Sandy St. Alban Version, adding a slightly different vocal flavor for the heads who know, each cut reveals another angle of this underground anthem. The Instrumental and Hi-NRG Dub Version strip things down into pure mixing tools: extended grooves, pulsating basslines and synth hooks that lock dancers into a trance. The Remix pushes things further into peak-time territory, while the real gem for DJs lands on the B-side: the long-sought Hot Tracks Extended Edit by Gregg Denewith — originally exclusive to the US market and finally resurfacing in proper, playable quality. A true secret weapon for selectors who like their sets with a touch of authentic 80s heat.

This release is a love letter to Hi-NRG, to analog excess, and to the global club network that kept these records alive long before algorithms caught up. For fans of neon-lit nostalgia, sweaty dancefloors and that unmistakable Italo-adjacent pulse. Main Attraction is exactly what the name promises. Pure energy. No compromise.

Manuel Darquart returns to WOLF with this season’s must-have EP, Dream House Factory Vol. 1. Following his sublime 2023 release, The Del Sol EP, and a standout appearance on Permanent Vacation Records, he once again delivers a collection rich in Italo house influences, all filtered through his unmistakable signature style.

Seamlessly blending house, Italo and acid flourishes, Manuel Darquart continues to showcase why he’s a master of that sun-soaked Balearic sound. There’s a strong sense of nostalgia throughout, yet it’s balanced with a sharp, contemporary edge.

Adding further weight to the package, Malik Kassim aka Retromigration steps up to deliver a killer, remix of Pammy’s Craft. Injecting the track with extra drive and peak-time energy, he transforms it into a dancefloor weapon while retaining the character and charm of the original.

Think Ibiza via Hackney, with a pit stop in Amsterdam for a late-night pick-me-up. Balearic to the core!

Preceded by Piazza Centrale and the subsequent Seia the album of the singer-songwriter, producer, and multi-instrumentalist, new promise of the Italian music scene, moves along the traces of memories to tell a timeless story, using a very personal language in which singer-songwriter music, pop, and electronic experimentation naturally coexist. Hypnotic and magnetic, her music is a subtle, elusive seduction, an emotion that delicately insinuates itself into the mind, an invitation to get lost in its beauty. A passion that touches the deepest chords of the soul, without the overwhelming rush of the senses, but with the intensity of a pure and profound feeling. Gaia Banfi was born in Milan, has been living in Bologna for years, but in her album, it is Genoa that resonates, the place of her childhood, which here becomes an imaginary setting for a symbolic dimension in which everyone can recognize themselves, through seven tracks in which all those melancholies that swell as we grow up, the lacks, the turbulent and dark loves, the unrequited ones, but also the vitality, the discovery, the absence of judgment, and finally the awareness, the inner conquests, the clemency, and the love for oneself, take voice.

First-ever vinyl edition of 2007 album "The Earth Is Shaking" by The Hydromatics featuring Kent Steedman (The Celibate Rifles) on guitar! Bang! Records brings you "The Earth Is Shaking", the THIRD album by The Hydromatics - a transatlantic high-energy rock 'n' roll unit powered by Detroit legend Scott Morgan (The Rationals / Sonic's Rendezvous Band) and Amsterdam cult-hero Tony "Slug" Leeuwenburgh (Loveslug). Originally released in 2007, this record captures the band leaner, rougher and fully locked-in: big riffs, street-level groove, zero filler, and that unmistakable Detroit soul-grit that Morgan owns like nobody else. And here's the headline for rock'n'roll die-hards: Kent Steedman (The Celibate Rifles) is on guitar - bringing bite, melody and attitude, plus extra sonic spice (yes: theremin) and production muscle. The result is The Hydromatics at maximum voltage, moving confidently into their own songs while still carrying the Motor City flame. Highlights include the swaggering "Streets Of Amsterdam", the barroom punch of "Standin' At The Juke", and the epic ride of "Detroit Leaning". Enjoy for the first time on vinyl!

From the maniacal opening notes and carnival barker howl that launch the album, The Ugly Organ wasted no time searing itself into a listener's ears and quickly established Cursive as a musical force with which to be reckoned. A self aware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, The Ugly Organ wowed critics and audiences alike with its cerebral, cathartic blend of songs. Fiercely intelligent and cohesive - the liner notes laid the songs out like a play, complete with stage directions - across its diverse sonic landscape, the album landed Cursive on the Sunday Arts & Leisure section cover of The New York Times (which also called it "a marvelous collection of riddles and left turns, conceived as a single piece of musical theater") and earned accolades from Rolling Stone ("a brilliant leap forward"), Entertainment Weekly, Billboard, Alternative Press, MAGNET ("The best punk record you'll hear all year"), Esquire, and SPIN, among many others, as well as a place on numerous year-end best lists.The Ugly Organ feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.

Tha God Fahim's timeless creative instincts have been evident from the moment his art began to circulate. Emerging unexpectedly from the epicenter of trap music, the Atlanta emcee quickly distinguished himself with sharp wordplay and atmospheric production that couldn't be further from the monotonous sounds echoing Around Him. With Just A Few Projects To His Name, Tha God Fahim Was Still A Hungry Young Talent On The Rise when he unleashed Tha Dark Shogunn Saga in late 2016. Among his most memorable early releases, the album kicked off an unprecedented creative explosion, as Fahim cemented his status with more than 50 projects released over the next two years. Followed by an equally compelling sequel released just a few
months later, the overall saga became an important moment in Tha God Fahim's rise, evoking shadowy street corners and smoke-filled hallways. Nearly a decade later, Fahim is expanding this series into a full trilogy with Tha Dark Shogunn Saga, Vol. 3. Reviving the unmistakable vibe of the original projects, the new collection finds our hero back in warrior mode, sharpening his lyrical blade over rich production from Cookin Soul, Nicholas Craven, Fortes, and Fahim himself.

Preceded by its addictive new title track and last year’s incendiary “Asking For A Friend,” Your Favorite Toy is Foo Fighters’ 12th album — and quite possibly their hardest rocking to date. Burning through 10 absolute bangers in under 40 minutes, Your Favorite Toy demands and rewards repeat listens in equal measure. It’s Foo Fighters pushing boundaries as they pin the volume meters, adding new dimensions to their timeless signature sound.

Originally released on vinyl in 2012, H2DAIZZO quickly became one of the NYC duo’s most sought-after records, with original copies fetching over $100 on Discogs. Now widely considered a timeless club essential, this deep, minimal house cut returns via a long-awaited repress on Defected Records.

The release is further elevated by three standout remixes, each bringing a distinct perspective: Peggy Gou delivers a signature 2017 rework, slicing and reshaping the groove with her unmistakable flair; Butch injects his 2018 remix with driving, dancefloor-focused energy; and Josh Baker offers a fresh, contemporary take, rounding out the package with a modern club sensibility.

"Life & Death has been a bucketlist label for me since day one. I've always been inspired by the way DJ Tennis approaches music and the whole philosophy around the label. What always stood out to me is the variety in the releases. One record can be deep and emotional, the next one raw and club-focused, but it still feels like it belongs to the same world. That balance is something I am always chasing in my music. Next to this: in a world that is focussed more and more on short term wins and commercial performance, i really can tell that Tennis still values the art and process of making music the most, which is something i really appreciate"

I remember hearing him play at Circoloco in Ibiza and later in the Loft in Amsterdam and thinking: 'fuck, I should've send him the tune I made last week.' When I came back home, I immediately put together a pack of tracks to send to him. Two were released as part of the Fabric release, and 4 of them are on this EP.
For me, this release is a next step in my career, and I'm happy and proud to be part of a label that is both legendary and super relevant in 2026."

One of the best boogie disco records from Nigeria repressed for the first time. Produced in 1981 by Jake Sollo and performed by himself flanked by the outstanding funky bass by Randy Taylor and the great vocal performances from the Galaxy girls. Recorded and produced in England but originally released only in Nigeria.

R.A.N.D. Muzik Recordings welcomes Subb-an back to the label. This time in a solo capacity for an EP of house/tech house.

Skull Snaps 1973 album on GSF is iconic because of the huge number of times tracks on it have been sampled by the Hip-Hop community.

The album, produced by genius George Kerr, and featuring the talented Ervan Walters and Sam Culley, was released with a flourish and in a classic gatefold sleeve but GSF floundered and the album flopped. It’s discovery by Rap music makers has been well documented but before that happened it was discovered by UK Soul detectives in the 70s.

As the Northern Soul scene shapeshifted on from 60’s Motown sound alikes into contemporary black music a whole new music rosta took over the dancefloors. And just as Gil Scott-Heron and Brian Jackson’s “The Bottle” got its debut British spins in the North, so did a whole slew of other acts - includung the Skull Snaps.

“My Hang Up Is You” became a single from the album and an underground anthem. One venue that became synonymous with the track was the Ritz in Manchester where the legendary Soul and Jazz -Funk All-Dayers helped shape UK dance music culture. Paul Mooney has created two 2026 remixes - one vocal and one instrumental - that pay homage to that 1970s golden era when Soul and Disco gelled into an unstoppable force. Fittingly both remixes have been dedicated to those Ritz All-Dayers.

With Neolithic Neon, Appleblim creates a kaleidoscopic reflection of the spirituality inherent within electronic music — the ineffable frequencies and communal traditions that spring from exploratory synthesis, deep-rooted rhythms and myriad other sonic codes.

Throughout his third album for Sneaker Social Club, Laurie Osborne continues to express a fascination with the ancient resonance held within modern rave as he guides his own studio practice towards more purposefully analogue processes. It's reflective of his desire to let go and trust his instincts within the more chaotic realm of voltages and signals, not to mention turning to a wider spread of instrumentation and opening up to noisier avenues. This direction defines the character of Neolithic Neon, which bristles with the living imperfections of the gear in the context of incisive and wide-ranging cuts touching on jungle, dubstep, techno, electro, acid and experimental electronic music of all stripes.

Across Osborne's solo output from 2018's Life In A Laser to 2021 tape Infinite Hieroglyphics, a strong melodic sensibility spills out of the richly layered production. It's equally audible in his Wrecked Lightship collaboration with Adam Winchester, and it charges Neolithic Neon with its star-gazing, contemplative streak. From the knotty plucks and licks weaving through opener 'Moorland' to the vaporous synths darting across the top of hardcore conductor 'Thunderstorm', a dreamlike evocation takes the sound off terra firma, musing on cosmic events and our connection to the enormity of the universe.

Eternally in thrall to the maverick vocabulary of pioneering beat scientists and fuelled by the inspiration of great thinkers dwelling on our purpose and place, Neolithic Neon unfurls big ideas without heavy-handed messaging. Instead, it trusts in the universal and time-honoured language of experimentation and rhythm to present its ideas, true to Appleblim's legacy to date while opening a new chapter in his ongoing sonic quest.

Molekül celebrates its 10 year anniversary with its most ambitious release to date. The label brings together 16 tracks from artists who have shaped its DNA over the years. This compilation looks to the future rather than the past and represents the result of a decade of exploration, forming into a sound that is built on multiple influences, raw, peaky and impactful. The release features peak-time cuts from BAUGRUPPE90, Mark Broom or Zisko, alongside a new generation pushing techno forward like KUSS & Sicion, Seigg and Fran LF. It also dives into more hypnotic territories with tracks by JKS or Hemka, and delivers loopy and effective tools for the dancefloor from Mython, as well as a new standout collaboration between Beau Didier, Flits and Isaiah.

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

Inexplicably, yet true, Lexx returns to International Feel with a record that lives exactly where his music feels most at home. In Between State is a gentle navigation between memory and motion, between what has passed and what is still quietly unfolding. It is reflective without nostalgia, uplifting without force. A record that trusts the listener to drift.
Another Beach opens as a meditation on time and possibility. It looks back with warmth but keeps its gaze fixed on the horizon. A reminder that nothing is fixed, everything moves, and somewhere ahead there is always another sunset waiting on another shore.
Unison follows as a celebration of togetherness. Open-hearted and weightless, it captures the simple magic of shared moments with friends, music traveling across a room, and the quiet certainty that joy multiplies when experienced collectively.
The title track In Between State settles into that suspended hour where day dissolves into night. Inspired by early 90s electronica yet unmistakably Balearic in spirit, it drifts forward with a subtle psychedelic glow, neither arriving nor
departing, just perfectly hovering in place.
Closing the journey, Durchs Hinterland rolls steadily outward into open space. Born from long rides through backwoods and side roads, it moves with hypnotic momentum and the calm rhythm of forward motion. Endorphins rise, thoughts loosen, and the landscape begins to breathe with you.
Four tracks, quietly luminous. Music for transition, companionship, and the spaces in between. Lexx remains exactly where he should be.

Released independently and on her 30th birthday, "Water Baby" is Giorgia-May's stunning debut album. Spanning over 8 tracks & recorded live at The Famous Goldwatch Studios in Berlin, Giorgia collaborates with some of Berlin's finest musicians to enhance her craft at putting emotions into songs. Each track highlights something different in her ability to channel pain, desire, lust and heartbreak, all whilst (most of the time) making you want to dance & smile.

Stemming originally from Brighton (UK), Giorgia-May has been pursuing a musical career through the means of travel. Now based in Berlin, she combines sensual lyrics, mesmerising tones and exciting arrangements which draw upon her personal experiences of love, loss and coming into womanhood. Blending soulful melodies with jazzy chords and hints of RnB, she takes influence from writers such as Olivia Dean & Amy Winehouse.

Extensive independent European tour in August & September 2026 through the following cities: Berlin, Paris, Bilbao, Porto, Lisbon, Valencia, Barcelona, Marseille, Cannes, Milan, Lake Como, Zurich, Luxembourg, Brussles, Cologne, Amsterdam and more ...

This relatively new Stockholm duo have been making waves with their latest vinyl output. This EP conveys their love for the disco house sounds of Chicago, spearheaded by the likes of DJ Sneak. ‘Spoon Bait’ leads the way using an almost dreamlike vocal hook over a deep bass led groove with dub effects to boot. ‘Tuborg Translate’ picks up the tempo, chopping up a Philly style hook, underpinned by crisp beats and otherworldly space effects. Title track ‘Silja Line Superstar’ keeps the peak-time action going utilising warm emotive strings and brass whilst ‘Kenneth Knaster’ bounces along on a sublime disco ride bringing the EP to a close.

Hardt Antoine returns to Crosstown Rebels with emotive new release ‘One More Night’, featuring Charlotte OC. Set for release on 24th April 2026, the French-Jamaican artist links with the UK singer-songwriter, backed by a remix from Echonomist.

A warm, late-night glow pulses through ‘One More Night’, as Hardt Antoine returns to Damian Lazarus’ Crosstown Rebels for his first original release on the label, adding to his captivating remix of Henri Bergmann & Wentink’s ‘Guardian Angel’ in 2024. Anchored by Charlotte OC’s striking delivery, the track draws on the pull of classic disco and modern club sensibilities, balancing introspection with pure dancefloor drive.

On remix duties, Greek DJ/producer Echonomist reshapes the original into a blissful voyage, layering skippy rhythms and shadowy textures for an emotive late-night ride. Rounding out the release, ‘Dreamstate’ offers a complementary original from Hardt Antoine, leaning further into his melodic instincts with a fluid, atmospheric groove.

Hardt Antoine’s output and sound draws on his French and Jamaican heritage, weaving house, techno, soul, and 80s influences into a sonic identity defi ned by rich melodies and groove-led songwriting with recent releases on the likes of Innervisions and KompaktMeanwhile, Charlotte OC brings her distinct vocal talents to Crosstown for the very first time. Following a return to her hometown of Blackburn and a renewed creative focus, her recent work leans into raw, self-assured songwriting, blending vulnerability with strength - qualities that sit at the heart of ‘One More Night’.

On "Enduring Sonance," saxophonist and flutist Steve Wilson reflects on a lifetime of lyrical, deeply felt songs drawn from jazz, pop, and film—brought to life by an all-star ensemble featuring Renee Rosnes, Joe Locke, Jay Anderson, and Kendrick Scott. *** Certain songs have a way of lingering in the imagination—resonating long after we’ve last heard them, sometimes for a lifetime. On his breathtaking new album "Enduring Sonance," veteran saxophonist and flutist Steve Wilson celebrates the music that has left the deepest imprint on his musical life. “Some of the tunes on this record have stayed with me for, in some cases, over 50 years from the time that I first heard them,” Wilson says. “I wanted to put some music out there that people can connect with, no matter what kind of music they like.” Originally conceived as a ballads project, Enduring Sonance evolved into something broader and more personal. Rather than focusing on tempo or style, Wilson gravitated toward a sense of lyricism—music whose emotional clarity and melodic resonance endure across genres, decades, and listening habits.

To realize this vision, Wilson assembled a deeply intuitive ensemble featuring pianist and arranger Renee Rosnes, vibraphonist Joe Locke, bassist Jay Anderson, and drummer Kendrick Scott, with special guest Kevin Newton (French horn, Imani Winds) appearing on two tracks. Each musician brings a rare sensitivity to melody, texture, and space, allowing the material to unfold with warmth, restraint, and quiet authority. The repertoire draws from a wide musical landscape, including works by close collaborators and modern jazz masters Billy Childs and George Cables, alongside enduring songs by Michel Legrand, Quincy Jones, Milton Nascimento, Gino Vannelli, Bill Lee, and Eliane Elias. These are not standards in the traditional sense, but deeply personal selections—songs that have accompanied Wilson through different chapters of his life. The album opens with Childs’ “Quiet Girl,” its subtle rhythmic motion enhanced by Newton’s luminous French horn, and travels through cinematic ballads, soulful grooves, and reflective lyricism. The title Enduring Sonance speaks both to the lasting resonance of these songs and to Wilson’s enduring musical relationships—most notably with Rosnes, whom he has known for nearly four decades and whose sensitive arrangements help unify the album’s diverse repertoire. “These songs are the soundtrack of my life,” Wilson says. “I’d love it if listeners came away from this album with the same kind of enduring sound and feeling.”

Metric’s relentless pursuit of timeless songwriting and fiercely independent ethos have cemented their place as one of the most essential and ahead-of-the-curve bands of the last two decades. The trailblazing Toronto outfit was founded by songwriting and production partners Emily Haines and Jimmy Shaw, along with bandmates Joshua Winstead and Joules Scott Key. Though both were also founding members of the influential and sprawling Canadian indie rock outfit Broken Social Scene, Metric was always the top priority, and shortly after they met and cemented their mission, they left Toronto for New York in search of like-minded artists. There, they found themselves at the center of the city’s burgeoning indie sleaze scene alongside bands like LCD Soundsystem, The Strokes, TV On the Radio, Yeah Yeah Yeahs, Interpol.

Their 10th studio album Romanticize The Dive harkens back to the free spirit of that era, kicking off with Haines nostalgically imploring the listener to “let me take you back, it was the start of something...” before pulling back the curtain on a band that has consistently stayed true to each other and their ethics for decades. In a tribute to lifelong friendship, the album also reunites the dream team behind their 2009 breakout album Fantasies at Electric Lady Studios in New York. All at once a heartfelt reflection on their history, a celebratory gift to those who have been along for the ride, and an outstretched hand to new fans, Romanticize The Dive is another testament to the band’s unwavering love for each other and their insatiable desire to push themselves as artists.

Made in Hell is Hell Boulevard's new studio album, due for release in 2026. The band remains true to its distinctive style, combining dark gothic rock with cinematic orchestral arrangements and electronic elements to create a powerful, atmospheric sound. For the first time in the band's history, a Hell Boulevard album was mixed by Bengt Jaeschke at Chameleon Studios in Hamburg. The final mastering was done by Stefan Brown at the legendary Abbey Road Studios in London. This high-quality production chain marks an important step in the band's sonic evolution and gives the album a particularly striking and powerful sound aesthetic.

Rock legend John Corabi—renowned for his work with Mötley Crüe, The Scream, Union, ESP, and The Dead Daisies—steps into the spotlight with “New Day” his first full-length solo album of original material. Recorded in Nashville during the summer of 2025 and produced by multi-platinum songwriter and producer Marti Frederiksen (Aerosmith, Ozzy Osbourne, Buckcherry), the album fuses classic ’70s rock, soul, and blues influences into a sound that is both timeless and deeply personal. The record features the previously released singles “Così Bella (So Beautiful)” (2021) and “Your Own Worst Enemy” (2022), now fully integrated into a rich collection of tracks that showcase Corabi’s commanding vocals, heartfelt lyrics, and masterful songwriting.

Throughout the album, Corabi is joined by Marti Frederiksen, who adds backing vocals, guitars, piano, and percussion; Evan Frederiksen, providing drums, bass, B3 organ, electric guitar, mandolin, and programming; Richard Fortus (Guns N’ Roses) on lead guitar; and Paul Taylor (Winger, Steve Perry) contributing piano, organ, and clavinet. Together, they create an organic, instrument-driven sound built on real performances, melodic interplay, and soulful energy. A trip down to memory lane mostly with a nostalgic mood offering intimate everything that is in between acoustic moments to richly layered arrangements rockers: “New Day” is a journey through the heart of rock, infused with soul and blues sensibilities, and inspired by the melodic grandeur of early Boston and Queen. With a European tour planned for February/March 2026 and additional shows through late spring and summer, Corabi is poised to bring this music directly to fans, delivering both powerful live energy and emotional resonance. More than just a solo debut, “New Day” is John Corabi’s personal testament to rock’s enduring spirit—an exploration of melody, soul, and authenticity, played with passion and conviction at every turn.

The mysterious Witness of Venus takes command of the Zazù spacecraft and continues his cosmic exploration. With Lost & Found, he drifts into a dreamlike sound world inspired by a specific sound of the trance and techno of the 1990s — the one that evokes wonder without excess.

As the label’s second release, Lost & Found is a gentle tribute to a timeless spirit of dance music, where the dancefloor becomes a place not only to move, but to dream.

Another special release to celebrate 30 years of Ten Lovers Music.
A limited edition 7″ featuring Patrick Gibin – Flash Point from TLM7001 and Javonntte – Wind Of Seven Seas from TLM7003.
Flash Point features Kaidi Tatham on keys and was mixed by Gary Superfly.
Wind Of Seven Seas on the other side sees Javonntte on a Detroit Jazz Fusion excursion to Tuxedo Avenue.
If you missed either of these last time don’t miss them again!

We're kicking off the new year in fine style with another set of Belters by none other than Dominik Marz. Some have been tried and tested - with HURT appearing on vinyl for the first time. Others are unheard, until now.

No matter where you are in the world, distance fades when like-minded people connect.
Clima Futuros understands climate as a condition rather than a setting. An environment where trajectories take shape, move forward and, sometimes by chance, intersect. Each track follows its own path until those paths briefly align — not as a destination, but as a shared moment in time.
At the center of the record, DJ F outlines a common atmosphere shaped by movement, reinterpretation and intent. The EP unfolds through original cuts and reworked versions, where ideas circulate, transform and return with renewed meaning.
One of the tracks features saxophone lines by Nala Rami, adding a melodic presence that sits naturally within the climate, while remixes by Less J and Jarren expand the EP from different angles.
Rather than a fixed narrative, Clima Futuros presents a shared space — shaped by aligned paths, recycled forms and the quiet convergence of futures moving in the same direction.

Golden Seconds has arrived — a brand-new Disco label brought to you by Johannes Albert.

In the 1990s, Disco House records became dancefloor anthems, drawing on the nostalgia of disco's golden era while incorporating modern production techniques like sampling. Pioneered by influential producers like JohNick or DJ Sneak, Disco House revitalized the uplifting spirit of Disco while infusing it with the infectious rhythms of House Music. A young Johannes became addicted to this happy music in a heartbeat. Fast forward two decades, and he’s crafted his own updated take on the genre, guided by one simple philosophy: "Sometimes all it takes to make a room go bang is a beat and a sample."
Golden Seconds Vol. I opens the vaults and delivers a selection of tracks straight from the stash — timeless grooves, dancefloor heat, and that unmistakable disco glow. Sexy cover included.

Limited 12" sampler for the forthcoming Curses compilation: As much musical memoir as compilation of often impossible-to-find tracks, 'Next Wave Acid Punx TROIS' has joined the dots between industrial, post punk and EBM from the 70s and 80s with the emerging rave scene of the 90s and proven that this spirit is still alive by unearthing some of the best unreleased dark disco, techno and electro produced today. Extended versions only!

Jason Aldean schlägt mit der Veröffentlichung seines zwölften Studioalbums ein neues Kapitel auf. Das
Album ist ein Meilenstein mit 20 brandneuen Songs, die die ganze Bandbreite seines künstlerischen Schaffens zeigen – von mitreißenden Bühnenhymnen bis hin zu den ehrlichen, authentischen Geschichten, die
seine Karriere geprägt haben. Diese umfangreiche Sammlung unterstreicht Aldeans anhaltende Popularität
und seine kreative Weiterentwicklung und bestätigt einmal mehr, warum er zu den einflussreichsten und
prägendsten Stimmen der Country-Musik zählt. Mit über 25 Millionen Followern in den sozialen Medien
und einer Karriere, die die moderne Country-Musik maßgeblich beeinflusst hat, gilt Jason Aldean als einer
der größten Superstars und erfolgreichsten Hitgaranten des Genres. Bekannt für seine einzigartige Mischung aus stadiontauglichen Country-Hymnen und gefühlvollen Balladen, ist Aldean zu einer kulturellen
Größe geworden und verbindet sich mit seinen Fans durch Hymnen, die sowohl die Härte als auch die Seele
des amerikanischen Lebens einfangen. Die New York Times lobte seinen Sound als den des „Hardrockers
von nebenan“, während der Rolling Stone ihn als „einen der mutigsten Wagemutigen der Country-Musik“
bezeichnete.
Aldeans Vermächtnis ist durch eine Reihe von Auszeichnungen, darunter drei ACM-Awards als „Entertainer
des Jahres“, unzählige Platin-Schallplatten und ein umfangreiches Repertoire, das den Erfolg in Nashville
neu definiert hat, untermauert. Im Laufe seiner Karriere hat Aldean epochenprägende Songs wie „Big
Green Tractor“, „Dirt Road Anthem“, „Burnin’ It Down“, „You Make It Easy“ und „Try That in a Small
Town“ veröffentlicht, die allesamt sein Talent unter Beweis stellen, die Charts zu erobern und gleichzeitig
seinen Wurzeln treu zu bleiben.

- 2026 repress / hot foil printed sleeve -

Limited Edition: Box with holographic hot foil logo print and five printed inner sleeves - No Repress

SHDW's label, Mutual Rytm hits a notable milestone at the start of 2024 as it turns two years old and hits its 20th release. To mark the occasion, the carefully curated compilation 'Federation Of Rytm III' arrives on February 2nd with a 30-track 5 x 12" boxset vinyl release and a further 6 digital bonus tracks.

Mutual Rytm is synonymous with serious, no-frills techno. It is a go-to for the world's most influential DJs and a home to some of the scene's most innovative producers. Over the last two years, it has explored several shades of sound, always with high-quality production and forward-thinking styles. A fine balance has always been struck between new and emerging talents and established names with plenty more to say, and that is the case on this collection which features the legendary likes of Blawan, Gary Beck, Colin Benders, The Advent and Dax J next to ANNE, Alarico, JakoJako, Chlar, LDS and many more.

Founder SHDW says, "I've poured my heart into curating a compilation of 36 tracks, a reflection of my deepest musical passions. The lineup is stacked with incredible artists, and it captures the label's essence - a fusion of artists spanning generations, united by a shared spirit and aesthetic, creating a seamless 'mutual rhythm'."

Although all 36 tracks stand alone as high-grade and club-ready dynamite, they also collectively form a versatile listening experience thanks to how they've been carefully assembled into a perfectly sequenced journey.

Each one dives into a different nuance within the world of techno and there is a range of moods from dark and driving to more energising and uplifting. The collection not only shows how far Mutual Rytm has come in a short space of time but also that it remains in a constant state of evolution and has a bright future ahead in 2024 and beyond.

SHDW's vision at Mutual Rytm was always to present a cohesive yet varied musical experience, and Federation Of Rytm III does exactly that.

妖精の通る道 (The Path Where Fairies Pass) is the debut vinyl release by Reimaki, the duo of Rei Yokoyama (Triggers Flowers, Stakaidan, Lapiz Trio, 新井薬師自警団, and Fujio, Chiko Hige and Rei), and Maki Miura (Tsubamegami, Les Rallizes Dénudés, Shizuka, Fushitsusha, Ohkami No Jikan and Katsurei). The duo has been an understated presence in Tokyo, playing occasional under-the-radar shows and self- releasing a few CD-Rs, but they’ve recently started to break cover, with a recent cassette on UFO Creations, released in support of a late 2024 tour of China. It’s also a welcome reappearance on the scene for both musicians; Miura’s musical history, in particular, is being reevaluated thanks to a recent string of welcome Shizuka reissues.

But the music Reimaki make together is a different thing entirely, much as it shares some psychological and aesthetic interests with both Miura’s and Nokoyama’s other projects. Their sound is split between two main interests – an extension of glacial, deoxygenating psychedelic improvisations, and a deep interest in medieval European music. They’ve also been known to cover compositions by English prog/improv musician Fred Frith. These various elements of the Reimaki aesthetic are all present through 妖精の通る道, from the fragility of the opening “Novel Amor” through to the smeared, hazy textures of the three extended pieces that comprise the album’s flipside.

There’s a beautiful sympathy in these performances, and a generous simplicity, too; you can sense that this music is informed by decades of finding just the right way to say the right thing in the clearest manner possible. Yokoyama and Miura never overstate things; make the statement, play the song, let it hang in the air for a while, and then move on to the next essential expression. The music is unburdened by self- consciousness. Their take on medieval music cuts to the core of melody and melancholy; their psych- improv side is blurred and drifting without ever lapsing into rote generic gestures.

There’s some shared space with other artists who suspend the timeless within the kaleidoscopic possibilities of the psychedelic – Kendra Smith & The Guild of Temporal Adventurers; Emmanuelle Parrenin; Rosina de Peira – and a tangled folksiness that might put listeners in mind of Jan Dukes De Grey, Comus, Current 93, and Tower Recordings. Accompanied by beautiful photography from street photographer Takehiko Nakafuji, who was also personally chosen by Mizutani to document Les Rallizes Dénudés, 妖精の通る道 is a most unique and necessary trip.

2 more dancefloor bombs for your box, this time from one of the biggest duos in hip hop!

Entering the abandoned warehouse full of haze and blinded by the strobe lights, you feel the rush when the bass kicks in. You have no idea if the year is 1996 or 2026, but it doesn't matter as long as you are alive.

Indeed, another batch of forgotten and previously unreleased radioactive acid techno has surfaced on the anonymous, vinyl-only Kilotoni imprint — possibly their strongest release so far.

A1 The peak of acid techno is perhaps found in its most stripped-down form. As the bass line throbs your breath out, you try to chase the kick drum in a game of hide-and-seek until complete exhaustion. It's something you play after the copies of Betty Ford and Sync In start to melt during a nuclear reactor accident.

A2 A ravey or hard-techno-oriented approach is applied to the acid techno formula here. The squelching, pulse-width-modulated synth makes for an eerie yet irresistible call to the dance floor. The snare rolls might just be your guilty pleasure.

B1 The flip side opens with funkier techno that the Voyager probes could bump to in outer space a million years from now. A wild acid line is accompanied by playful chords and beats. Detroit influences meet Nordic melancholy.

B2 The kick drum keeps pounding its way through while a lonely TB-303 is traveling in its own space and time. Influenced perhaps by the Midwest acid techno style, this could be a mid-90s DAT-tape lost inside the transatlantic postal system on its way to the Analog Records USA headquarters.

2026 Repress

Akusmi is the project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album 'Fleeting Future.' With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. 'Fleeting Future' stands apart as an inventive and inspirational debut.

The creation of the album's richly colourful and multi-layered sound world was originally inspired by Bideau's journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on 'Fleeting Future' seed from the 'Slendro' scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; "the compelling way things dramatically change when you shift from any given scale to another."

The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track 'Fleeting Future', on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece 'Neo Tokyo' is a vibrating, ebullient mass of colliding elements which feels like zooming in to the electron level, as it teeters on the edge of chaos. The title is a reference to Katsuhiro Otomo's Akira, a dizzying work of art set in a sprawling futuristic metropolis.

'Yurikamome', meanwhile, is an imaginary soundtrack inspired by Bideau's yearning to visit Japan which he fuels by watching Youtube videos of drives and rides through Japanese landscapes and cities. "It's amazing" he adds, "that we have the ability to access almost anywhere in the world and see what it's like, that people document it and upload it. It's never going to be any replacement for the real thing, but with places that really touch you, it works." The track is named after a Japanese monorail train line which rides from Shinbashi to Toyosu, a last journey that feels like a new beginning.


'Fleeting Future' was composed and recorded by Bideau between 2017 and 2019 in his North London studio and features additional contributions recorded in Berlin by Florian Juncker (trombone), Ruth Velten (saxophone) and regular collaborator Daniel Brandt of Brandt Brauer Frick (drums / electronic percussion). Having been living through uncertain times, one thing that keeps spiralling into the unknown is the future, about which Bideau leaves us with a final thought:

"The future is fascinating: It is constantly readjusting to new events. I feel we left a linear approach to the future to enter an arborescent one where all the data and information we have about what could happen is exponentially ever-growing. Following a branch might allow you to glimpse into what it may become, but the evolution of the whole picture might very well render the prediction totally obsolete, and even meaningless. In that sense, there is not one future but innumerable ones all cancelling each other. That's what makes it fleeting."

Global icon and five-time GRAMMY® winner Angelique Kidjo returns with HOPE!!, a revelatory 16-track collection that serves as a vibrant antidote to the times. Following her 2021 success Mother Nature, this album bridges continents and genres, featuring a star-studded lineup including Pharrell Williams, Quavo, Ayra Starr, Nile Rodgers, and Davido among other A-listers

Produced by Pharrell and Shizzi, and featuring songwriting by the legendary Diane Warren, HOPE!! is more than an album—it’s a global musical movement dedicated to the resilience of the human spirit.

On a planet far beyond our solar system lies a volcanic tropical island, a glowing mirage where alien tides crash against molten shores and the sky pulses in time with the rhythm below. E.T.H (Italy) inaugurates the first-ever
Basement Beats vinyl release with Neon Inferno. The A-side opens deep and progressive, dense with atmosphere and tension, before pivoting into the playful, radiant Cumbia Poderosa, where the artist’s roots surface through Italian vocals. As the land shifts, lava carving new paths through jungle terrain, Utrecht-based Tifra reshapes thetitle track into a hypnotic, tribal ritual meditation built for the late hours.

Closing the portal is Osaka’s Paperkraft, whose vibrant remix injects uplifting energy and subtle Asian influences, bringing the journey to a euphoric, otherworldly conclusion.

Wilt returns with a new deep house EP on his own label, Thé Chaud Records. The French DJ and producer delivers a twosided release showcasing his dual approach to club music.

On the A-side, Wilt settles into a deep, late-night groove with two carefully crafted cuts built for the floor. Crisp drums and warm, rolling basslines drive a steady pulse, with subtle arrangements that let the tracks breathe. The B-side highlights his love for old-school sampling, blending warm textures and nostalgic touches into a more intimate, soulful atmosphere. A concise yet balanced EP, moving between refined club functionality and timeless deep house depth.

Backpackers rejoice as Ruckus release two more stone cold classics on 45 for the first time - coming hot from the NY underground of the 90s this boom bap bangers are certified

Hatchback is the alias of Samuel Milton Grawe. Sam creates music that sings of the Cosmos, full of deep resonant tones, glistening arpeggios, lush pads and harmonic motifs. ‘Phaser For The Ocean, Chorus For The Moon’ is his magnum opus, a sprawling masterwork that encompasses ambient, new age and environmental music to wondrous effect. Soaked in Californian consciousness, the album is a balm like no other for these troubled times.

When I first was getting into the creative side of music making in my teens, I was heavily influenced by concept albums like ‘Quadrophenia’ and ‘The Lamb Lies Down on Broadway’, as well as epic pieces that took up an entire side of a record: Pink Floyd’s ‘Echoes’, Yes’ ‘Close To The Edge’, Klaus Schulze’s ‘Nowhere Now Here’, Miles Davis' ‘Shhh/Peaceful’ and ‘He Loved Him Madly’. In the extreme, these ideas coalesced in double albums where each side of each record is occupied by a single title - Yes’ ‘Tales From Topographic Oceans’, and Tangerine Dream’s ‘Zeit’ being primary examples. When I returned to making music after moving back to Northern California in 2020, the first piece I recorded landed around the 20-minute mark, and the idea of creating three other long pieces to realize a full album felt like a natural - if indulgent - goal. From there, each new piece followed sequentially. Four songs. My fourth album. - Sam Grawe

‘Phaser For The Ocean Chorus For The Moon’ is a pure expression, informed by a lifetime of deep listening unbound by algorithms or AI.
These are songs for the sunrise and the sunset - and every colour in between.

[a] 01. And The Walls Became The World All Around [18:53]
[b] 02. Phaser For The Ocean, Chorus For The Moon [21:48]
[c] 03. Other Desert Cities [20:19]
[d] 04. Friendship Fountain [18.33]

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.

WRWTFWW Records is pleased to announce its fifth collaboration with NY-LA ambient / jazz / downtempo musician Danny Scott Lane with the first ever vinyl release of his 2022 full-length album Holy Goodnight, available on limited edition LP (500 copies worldwide) housed in a heavyweight sleeve.
After Home Decor, Shower, Caput, and Songs For Sex, here’s another Danny Scott Lane classic. On Holy Goodnight, he handles synths, keyboards, bass, guitar, percussion, and field recordings for a smooth nightride through city pop, contemplative jazz, vaporwave, slow funk, cozy ambient, library music vibes, and relaxed moods.
Holy Goodnight feels like cruising through a half-asleep city with the windows down and the radio low—lush harmonies and soft grooves guiding the way. It’s warm and hazy music for late hours and early mornings, introspective, comforting, cinematic, intimate…
Following the release of chillout staples on WRWTFWW, Danny Scott Lane further cements his unmistakable sonic universe. Complete the collection and sink deeper into the night.
Points of interest
For fans of ambient jazz, city pop, downtempo, smooth funk, vaporwave, library music, night drives, neon lights, quiet introspection, cozy late hours, and peaceful goodnights.
Super limited edition vinyl (500 copies worldwide) of Danny Scott Lane’s Holy Goodnight, available on vinyl for the first time ever.

Love Reaction returns with a new release and unveils the third and final chapter of its vinyl catalogue: ZONE, a series dedicated to club-oriented electronic music. For the occasion, the label welcomes ORA, two seasoned professional musicians rooted in the jazz scene, eager to explore new sonic territories together.

With Common Frequency, the duo unfolds a raw and organic sonic tapestry. Live, they sculpts landscapes in real time using drum machines and synthesizers, unleashing a club energy that is both electric and vibrant. Between analog textures and immersive rhythms, this debut EP asserts a strong and magnetic identity.

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease

Anané’s colourful life in music has seen her do everything from singing at the famous pre-game show at Super Bowl XLI as part of the group Elements of Life, DJ at hotspots like Hi Ibiza, Pacha NYC and Ushuaïa to name a few, while also curating her own monthly residency Nulu Movement, now ten years strong at Le Bain NYC, release unique blends of Afro, house, and pop on labels like Vega Records, and head up her own imprints, Nulu Music and Nulu Electronic. The Cape Verdean-born DJ, producer, vocalist, and songwriter has had countless club hits and has released acclaimed albums like ‘Ananésworld’ and ‘Chapters Of Becoming’, often with a lush, live, and orchestrated style that is truly unique.

With this release, Anané steps forward with her first solo production to date. Here she serves up the sumptuous ‘It Looks Like Love’, a poised, elegant house sound with her own smoking, soulful vocals and classy strings bringing colour to an Afro groove packed with infectious bounce. Neat guitar riffs and silky synths all enrich this most sophisticated sound. The first mix sees Anané link up with veteran Italian Christian Mantini, who has hosted Sunset Ritual parties with Anané and Louie Vega since 2013. Their dub is rooted in warm, rubbery drums that are even deeper and more immersive than the original.

Manda Moor & Sirus Hood are a red-hot contemporary pair who run the Mood label and are defining the contemporary underground. Their remix is more driving, but it retains the soulful vibe with breezy pads and jazzy motifs drifting in and out above the swaggering groove.

Rotterdam-based Chicagoan Jamie 3:26 is a master at blending disco, soul, and house into timeless sounds, and here he delivers a loopy rework that pairs deep drive and sun-kissed vibes with funky, Chic-style bass guitar motifs.

Returning with his first artist album in 13 years, revered techno innovator Mike Parker continues to shape out his explorations around 170 with his latest work for Samurai Music, Echo Disintegrator. Transcending genre lines with his unmistakable sonic stamp, the seasoned US producer crafts an extended trip through his exacting, lithe frequencies and brutalist rhythms. As evidenced on recent EPs Envenomations and Sabre-Tooth, Parker can comfortably slip into a hard-stepping D&B structure and make it his own. 'Earth Energy Imbalance' leaps forth with precision and purpose, wrapping atonal synth shapes around the stark beat in staggering high definition. 'Positronic Tentacles' finds a similar rolling momentum, even threading ruthlessly trimmed vocal snatches into the lyrical pulse of the lead tones. 'Radiative Force' teases its own mutant funk out of the envelopes shaping the molten sonics coursing through the middle of the frequency range. Elsewhere, Parker explores a variety of accented grooves around typical D&B tempos, remaining reliably broken while dipping into half-time space on 'Lunar Nocturne' and finding a low-slung swagger in the carefully deployed pressure of 'Ghost Rain' and 'Echo Disintegrator'. 'Beat Activator' pivots on a dense bed of bass with a crooked, off-beat slant before 'Dragon Bravo' casts a similarly dembow-informed beat into a dense tapestry of cyclical machine shrieks and snarls. There is a ruthless consistency to Parker's approach across Echo Disintegrator, riding the loops without flinching and forcing the focus deep into the minutae of every sonic element. Both brilliantly functional and profoundly subtle, there's a visceral, physical quality to the sound design that makes it a listening experience like no other.

Repress 2026

We’re very happy to announce the vinyl release of kuniyuki’s masterpiece “all these things”.

Originally it’s released on only cd in 2007. it was his 2nd album but it’s substantially his first album because the first album was a col-lection of kuniyuki’s early productions.

The first track “the guitar song” is one of our most favorite song of kuniyuki,it’s like a real good mixture of jazz, fusion, world music and electronic music.

The second track featuring african vocalist and percussionist “omar guaindefall”,we still love amazing henrik schwarz remix.

The third track “you get me” featuring our favorite singer “josee hurlock”,we’ve knew about her from the fantastic album “residue” by hefner in 2000. she is featured to the fourth track “all these things” too. we’re hoping to repress an amazing joe claussell remix.

The fifth track “flying music” featuring our good friend “alex from tokyo” as poetry reading and shuichiro sakaguchi( a popular trumpeter in tokyo) as a trumpeter. this long version was put to single cut release on 12inch.

The sixth track “the session” is a collaboration of song with henrik schwarz. they have met at mule musiq’s party in tokyo and clicked immediately.

The seventh track “touch” sounds very nostalgic african jazz or spanish fusion which is popular these days as balearic music.

The last track “rain of ocean” is a primitive african minimal deep house.this song is put to the single cut from this album(not put to the album) and we almost forgot this song but when we’re compiling the vinyl edition of album, we noticed how this song is beautiful.

Here are the collection of eight timeless and genreless music.

British electronic music pioneers Graham Massey (founding member of Manchester legends 808 State) and Brian Dougans (the mind behind acid house milestone Humanoid and one half of The Future Sound Of London) join forces for their debut collaboration In Place Of Language, released on Belgian label De:tuned.

Both 808 State and Humanoid helped shape the UK's early rave and acid house movement. Here, Massey and Dougans channel that legacy into a beautifully balanced four-track EP that radiates warmth and energy, drawing on more than three decades of experience in electronic music. Inspired by key elements of the '89-91 era while embracing a contemporary edge, the duo merge their distinct sonic identities into a sound that feels both timeless and forward-looking.

In Place Of Language is not a nostalgia trip, but a natural evolution: a meeting point between foundation and future, and a blueprint for a new wave of electronic experimentation!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis. A separate digital release will also be available at the usual digital shops. Stay tuned!

Fog On Mirror Glass introduces a new aesthetic amongst Donald Beaman albums. After four albums of varied full-band arrangements, this album emerged as an idea to present solo performances in conversation with full-band work. The bulk of the songs were recorded in the same place they were written: Beaman’s living room. Long time bandmate and producer Kirt Lind set up a makeshift studio at Beaman’s house to record the guitar parts in the same room where they were written, using the same guitars on which they were first played.

Unfurling with a measured pace, the resulting album combines elegiac lyrics with elemental arrangements played with an almost jazz-like reverential expressiveness, calling to mind the works of Cass McCombs, Will Oldham, and Jake Xerxes Fussell. Album opener “Glass Bottom Boat” sets the tone for the album with just Beaman and his guitar – written during the final months of a decade-long stay in New York City, the song was finished upon his arrival back in California. Meanwhile the title track, long a staple in live sets, lands near the middle of the album to recalibrate the mood, featuring the ghostly guitar work of longtime collaborator Ken Lovgren. “Old Universe” lifts things up a bit, propelled by the brushwork of drummer Michael Nalin and the jaunty bass playing of Kirt Lind. Finally, the album ends much the way it began, with Beaman and his guitar on album closer “Bamboo”.

“The dictionary definition of less is more.” - ---- Mojo
“His ability to carve universal empathy from mundane domesticity is remarkable.” - ---- RNR Magazine
“...a collection of evocative scenes and vivid emotions sung to sparse musical arrangements in Beaman’s distinctive sonorous tones” - Americana UK
“...pure and simmering, like a tattoo dedicated to a long lost friend, slightly fading from years in the sun, a memory that will always bring a tear in those quiet reflective moments.” - Psychedelic Baby Magazine

Mildred have announced their debut album Fenceline (out 24 April via Memorials of Distinction / Dog Day Records), they have also shared the Nick Roberts directed video for lead single ‘Fish Sticks’. Speaking of ‘Fish Sticks’ and the album, Mildred say: “Fish Sticks is a song of scenes from two worlds. Conversations with your boss. Acute workplace mediocrity. Riding home and eating fish sticks with your friends. For UK audiences, a fish stick is a fish finger, ideally Alaskan-caught cod. The song comes packaged in Fenceline, an album about conversations with old friends, little cousins, ceaseless piles of dust in your crumbling duplex, loves and theologians and their books. Fencelines mark two places but belong to neither. Neither nor, either or.”
Ahead of Fenceline, at the end of last year Mildred released their debut twin EPs mild and red, an insatiable collection of songs birthed before Mildred even knew they were a band. Arriving purposefully on the scene in that gentle, approachable Mildred way, the EPs picked up support from The Guardian, The Line of Best Fit, Uncut (‘We’re New Here’), The New Cue, Clash, DIY and more. Mildred is a band from Oakland, CA of four equal parts. They don’t have a lead singer, no one person writes the songs. The songs that make up Fenceline come together as a group with their genesis sprouting from any one of their members - Henry Easton Koehler (vocals, guitar), Jack Schrott (vocals, guitar), Matt Palmquist (vocals, bass, woodwinds) or Will Fortna (drums, production) - each time.

The songs are often wrestled from the lead writer by the other three, a lyric might have been mumbled absentmindedly for a few days before one of the other three grabs at it. Summed up neatly by Clash “imagine if Pavement went Americana and you’d be close”, Mildred make music that is pure and poetic, gently addictive and never overwrought. The lyrics for their songs are written largely alone and often draw from their own individual lives and experiences but there’s a shared something there. “It makes sense when common threads emerge” they say, “because we do things together a lot as friends: cook, laze about on a weekend, listen to an album, go walkabout, read, go see movies etc.
Strikingly literal or intriguingly oblique, Mildred have a remarkable way with lyrics that lodge themselves in your head softly but with such determination that they begin to feel like shimmering memories from your own life. Fenceline is a collection of songs that you want to hold close and delve into, and yet play to everyone you know.

“Salvation for the Wicked” unites Ransom, Boldy James, and producer Nicholas Craven for a gritty, soul-soaked showcase of sharp lyricism and minimalist, dust-laced production. Ransom and Boldy trade vivid, hard-earned reflections over Craven’s haunting loops, joined by standout features from Young Chris and OT The Real. Now on vinyl, the project’s warmth and texture hit even deeper, giving the raw performances and timeless sound the space they deserve in a format built to be felt as much as heard.

Time spent drifting from the northwest to Mexico to New Orleans and now to Montana has kept her off of the industry's radar until recently. Now, following her Newport Folk Fest appearance, she opened concerts for Big Thief and the Deslondes. Her performances on the Western AF have combined to garner over 200k views with the tastemaker site calling her "the GOAT." Cavazos' fans include Esther Rose, Benjamin Todd (Lost Dog Street Band), Riley Downing, Chris Acker, and Luke Bell. She collaborated as a member of a band (called Sundown) with Alynda Lee Segarra (of Hurray For the Riff Raff) and Sam Doores (of The Deslondes), the latter of whom produced this album.

Buster Williams is a man with a strong sense of purpose and a very clear sense of his musical direction. He is also a musician of prodigious gifts - which is implicit in the fact that his years of professional bass playing have included work with Miles Davis, Dexter Gordon, Sonny Rollins, Art Blakey, Sarah Vaughan, Nancy Wilson, Betty Carter, Freddie Hubbard, Herbie Hancock, Chet Baker, Woody Shaw and McCoy Tyner. He is unquestionably one of the giants of the double bass, and his status is a product not only of his natural aptitude, but also of his natural attitude - because Buster Williams is a man who believes in setting himself the highest creative goals. Williams composed five of the seven pieces and wrote all the arrangements. To bring the music to life he had the services of some most distinguished associates. It would be redundant to recite the credentials of Herbie Hancock , Wayne Shorter and Al Foster. This is a most refreshing and exhilarating album to which Buster Williams has brought a high level of creativity and total integrity.

Lily Allen's third chart topping album 'Sheezus' is now available for the first time on crystal-clear vinyl. The #1 album includes the hit single 'Hard Out Here'.

It’s Not Me, It’s You' is the multi-platinum second studio album by Lily Allen. The #1 album is now available for the first time on crystal-clear vinyl and includes the hit singles 'The Fear', 'Not Fair', 'Fuck You' and '22'.

(DL code included)

Six touching tracks that, starting from quiet ambient atmospheres, initially soft, tenuous, and crepuscular, gradually seem to soar... ascending towards celestial spaces, revealing ever-wider and brighter landscapes below, ever-more distant horizons, ever-more infinite spaces...

Highly evocative progressions, guided by sober and delicate melodies and driving, pulsating bass lines, wonderfully deep (best enjoyed with a good stereo system to truly appreciate them), the kind that make your stomach churn before you even perceive the exact frequency and harmonic progression, often "set" in sober rhythmic patterns that mark the time, making a sonic journey even more dynamic and compelling.
If it doesn't surprise you, it's probably only because you've already had the opportunity to explore and "plumb" Fabio Orsi's most recent discography, and are already accustomed to the best of what this new wave of distinctly electronic but ambient-inspired music has to offer.

The earliest foundations of the Detroit Harmony group ‘The Gaslight’ came when future lead singer Oliver “Butch” Cheatham via an introduction by his sister Jackie joined a group known as ‘The Young Sirs’ who recorded, “There’s Something The Matter (With Your Heart/African Love” for Magic City during 1969. The group included Oliver’s future brother -in-law Allen Cocker (Jackie’s future husband).

Oliver and Allen went on to form a new vocal quartet with Curtis “Kippy” Anderson and Michael Eatmon. Under the group name of ‘The Gaslight’ they signed to Uptight Productions Incorporated, a local production company founded by local businessmen Marvin Figgins and Arnold Wright. The Gaslight were the only vocal harmony group signed to Uptight Productions and as such, it was they who made the most recordings across two label imprints Grand Junction and Black Rock. The Gaslight’s first single “I Can’t Tell A Lie/Here’s Missing You” was released on Grand Junction (GJ1001) in 1970, For the groups second single Figgin’s placed them under the guidance of legendary producer/songwriter, the late George McGregor under whom they recording “Drifting Away/If You See Her” Grand Junction (GJ1002) released in 1971 For their next release Figgin’s switched the group to his Black Rock label to record “Out Of My Hand/I’m Only A Man” Black Rock (2002) under the pseudonym of Butch & The Newport’s With “Butch” being Oliver’s nickname. A later, second release of “I’m Only A Man” but with a different flip side “I’m Gonna Get You” came out on Grand Junction (GJ1100) in 1973 with the performing artist credits reverting back to ‘The Gaslight’.

Upon leaving Uptight Production’s the group found a new home when George McCregor took them to a new fledgling label T.E.A.I (an abbreviation for “Tellin’ Everybody About It”) owned by ‘The Dramatics’ Road Manager Charles Underwood. ‘The Gaslight’s’ first and only release for T.E.A.I, was the mellifluous 1975 double sider “Just Because Of You/It’s Just Like Magic”. Underwood had precured a working relationship with Polydor Records who picked the release up for national distribution three months later. As good as the record was due to poor promotion it failed to make any notable noise and eventually sank with the group soon after breaking up.

During Soul Junction’s later dealings with the late Oliver Cheatham, respected UK Collector Andy Rix mentioned he owned a three track acetate containing the two mentioned T.E.A.I/Polydor tracks plus a third unissued dance track “Hard Times” which through a licensing deal with Charles Underwood Soul Junction now present to you on a three track 45, released under its full title “Hard Times Are Coming, Hard Times Are Here” backed with a previously unissued mix of “Just Because Of You” alongside the issued 45 version of “It’s Just Like Magic”.

"Caliente" by Jay Santos — a massive top-3 summer hit from 2012; huge in Spain, France, Italy, Benelux. Never before released on 12" record.
"Troubles In My Head" by Antwerp-based DJ/producer Merdan Taplak — a European club hit from 2014, now available for the first time on 12" record.
"Remady" – No Superstar — Gold in France and Denmark, Platinum in Switzerland, a club hit across Europe and #2 in Ultratop Wallonia. First time on 12" record.
DJ Antoine – "This Time" — not DJ Antoine’s biggest commercial single but a massive club hit across Europe with chart positions in Switzerland, Germany, Belgium. First time on 12" record.

Belgian dance label La Musique Du Beau Monde celebrates its 20th anniversary with a 5-vinyl series. This is Vol. 2 of 5 and it’s packed with international hits.

BOX + 12” + 7” (shrink-wrapped)

12”s in the box:

"Cakiente" by Jay Santos — a massive top-3 summer hit from 2012 in Spain, France, Italy, the Benelux, etc.; never before released on 12” vinyl.
"Troubles In My Mind" by Antwerp-based DJ/producer Merdan Taplak — a European club hit from 2014, available for the first time on 12” vinyl.
Remady "No Superstar" — gold in France and Denmark, platinum in Switzerland, a club hit across Europe and number 2 in Ultratop Wallonia. First time on 12” vinyl.
DJ Antoine "This Time" — not DJ Antoine’s biggest commercial hit but a huge club hit across Europe with chart positions in Switzerland, Germany, Belgium, etc. First time on 12” vinyl.

The 7” in the box features four tracks close to the heart of La Musique Du Beau Monde founder Hansbert Vanhove:

DJ Peter Project’s “2 New York” was a track he A&R’d and promoted in the early days of his career as a junior A&R/label manager at BYTE Records.
Dirrrty Dirk – “Organ Seduction” was produced by Hansbert Vanhove and became his biggest solo record under the alias Dirrrty Dirk.
Out Of Grace’s “Anglia” was the first record he signed as A&R for the commercial imprints of Bonzai Records.
“Hey Hey Hey (Pop Another Bottle)” by Laurent Wery feat. Swift K.I.D. & Dev is the biggest hit in La Musique Du Beau Monde’s catalog, originating from Belgium. The track went five times platinum in Australia, gold in the Benelux, reached No. 1 in Poland and Spain, No. 11 in Germany, and hit the top 40 in a dozen countries

Music From Memory presents inrain, a collaborative project by Rudy Tambala of A.R. Kane and Alison Shaw of Cranes, originally recorded in the early 1990s.

inrain brought together two artists who were at the time shaping distinct yet quietly influential currents within alternative music. Through A.R. Kane, Tambala had helped redefine the possibilities of guitar music, placing atmosphere, abstraction, and emotional ambiguity at its centre in ways that would later resonate across dream pop, shoegaze, trip hop and experimental pop. At the same time, Shaw’s work with Cranes was establishing a singular vocal presence and a deeply intuitive approach to mood and space. inrain emerged at the intersection of these sensibilities.

The project began after Tambala was introduced to Shaw by Geoff Travis, leading to sessions at H.Ark! Studios in Stratford, East London. Working outside the expectations of their primary bands, the pair recorded informally over several months, building songs from minimal foundations. Early sampling technology, drum machines, acoustic guitar, and voice were used sparingly, with arrangements left open and space treated as an active element within the music. Vocals were often improvised, first takes preserved, and the atmosphere of the studio — calm, unhurried — became part of the sound itself.

Originally released in limited form during the early 1990s, the recordings carried subtle traces of the surrounding musical landscape: the low-end experimentation of emerging jungle, dub-influenced rhythmic structures, and a restrained melodic sensibility shaped as much by classical textures as by contemporary underground culture. Though modest in scale, the music feels quietly expansive — intimate, patient, and emotionally direct.

For this release, all tracks have been newly remastered from the original DAT tapes. This edition also includes the additional track 'Biology', written and recorded in 2012

Sound Records proudly presents ‘Morpho’, the debut LP from UK-based producer Benyayer, formerly one-third of celebrated electronic trio Dark Sky. A deeply personal record and a symbolic transition, Morpho captures the emotional and sonic evolution of an artist in metamorphosis.

Having stepped into the solo spotlight following his successful Infiltrator EP, Benyayer (aka Matt) delivers a bold, vinyl release that combines seven previously digital-only tracks with a brand new cut, ‘The Return’, all meticulously curated and pressed for the first time on wax.

Bridging influences from techno, UK bass, Afrofuturism, and electronica, Morpho is a meticulous exploration of rhythm designed to excite, cause chaos, personal reflection and movement. Each track is a raw, rhythmic exploration that draws on his time spent busking on the streets of London with found objects, experimentation with modular synths and years of experience honing his craft as a performer at some of the finest establishments in the electronic music landscape.

This initial vinyl edition is limited to just 300 copies. Designed in collaboration with Harry Cresswell, each sleeve features a deconstructed butterfly motif, laser-cut on both sides of heavy matte stock, paired with a matte-printed inner sleeve and a transparent vinyl disc, making each copy a true collector’s item.

The LP arrives amid support from tastemakers like Gilles Peterson, Benji B, and Tom Ravenscroft (BBC 6 Music), as well as heavyweight artists including Ben UFO, Bicep, Laurent Garnier, Bonobo, and Modeselektor.

Benyayer's new live show, built around these very tools, has already been trailed to great acclaim across Europe, adding a powerful performative dimension to the record. With previous performances at Berghain, Fabric, Glastonbury, MUTEK, Dimensions and Melt Festival. Benyayer's solo trajectory continues to rise with intent, mystery, and a fierce sense of artistic purpose.

This album brings together key tracks from Doug Carn recorded for Black Jazz Records in the 1970s.

Doug Carn is one of the most-important (and least-recognised) forces in the creation of the canon of 'deep and spiritual jazz music' - full of powerfully emotive intensity, consciously-uplifting lyricism and addictively beautiful melodies.

All of his LPs during this period have since achieved cult classic status including 'Infant Eyes', 'Adam's Apple', 'Spirit of the New Land' and 'Revelation'.

Aside from his songwriting and keyboard skills, many of the tracks here feature the stunning and powerful 5-octave range vocals of Jean Carn (later Carne), his wife at the time.

Musicians featured on this album include Alphonse Mouzon, Charles Tolliver, Henry Franklin, Michael Carvin, Walter Booker, Ronnie Laws and others. Aside from Carn’s compositions there are also striking interpretations of music by Lee Morgan, Miles Davis, John Coltrane, McCoy Tyner, Bobby Hutcherson and Wayne Shorter.

Black Jazz became one of the defining labels of independent and conscious jazz music in the 1970s alongside other important labels such as Strata-East and Tribe Records. As well as this Best of Doug Carn release, Soul Jazz Records are also releasing a Best of Black Jazz Records collection at the same time.

Rave At Your Fictional Borders is not beyond borders. The band simply denies any notion thereof. Driven by a sense of community, it defines human existence as one bio-organism with planet Earth. Now comprising members Dave De Rose, Marius Mathiszik, and Salim Akki, this incarnation of Rave At Your Fictional Borders first released the 'Entanglement' and 'Utopia' tracks in March 2025. Analogue Nomadism is the project's first album release. Recorded in Morocco and then co-produced and mixed by Dan Nicholls, it is an album of dizzying, trance-inducing scope. Rave music stripped of all external signifiers. Repetition, noise, krautrock, avant-garde sensibilities. This is a search for a groove that both connects and interlocks. The soul of improvisation and exploration runs through all seven pieces on Analogue Nomadism. Genres are referenced and transcended. The open-ended is perpetually embraced.

It is neither night nor day, but there is a half-light all the time. What used to be disconcerting is now not alien anymore. The sky boasts a faint light. Certain shapes are laid out, but get changed through communal ritual. Analogue Nomadism is the music of a feeling of community. It builds and breaks down. It is accepting of the psychedelic standards of the groove. Transportative and vertiginous. Endless.

We are excited to continue our work with Art P / Art Programming by finally offering the first full-length work from this Bremen-based electronic group. Originally released only on cassette in 1983, the self-titled album has now been fully restored and remastered, complete with bonus tracks and unreleased mixes unearthed from a rare demo.

The LP opens with "Wesen vom anderen Stern" ("Beings from Another Planet"), a downtempo, 808-driven electro synth wave track with German lyrics telling a story of aliens capturing earth, becoming the new "Herren" (lords), while humans are reduced to mere "objects." Art Programming founding member Jens-Markus Wegener notes that this track has always been a favorite during live performances, and it's easy to imagine how the futuristic sounds would have blown people away at the time.

Next is the electro/proto-techno title track "Art Programming," which we previously issued on a limited 12" in its full-length form. With its straightforward Roland 808 rhythms, catchy synth lines, and vocoder vocals, it's a classic example of German electro, and one of the earliest proto-techno tracks - long before Cybotron claimed the techno mantle. Its extensive break and electronic twist make it an early precursor to the genre. Wegener recalls that this track was created exclusively by him and Grotelüschen, with Grotelüschen contributing most of the melodic elements, while Wegener focused on drum machine programming and vocoder vocals.

On "That's Me," the album welcomes back singer Claudia Roebke. Although it's an electronic composition, Roebke adds a rock-infused, almost psychedelic vibe to the song. The lyrics, written by Wegener, depict a person obsessed with their appearance, using irony to critique societal beauty norms, questioning the obsession with perfection and attraction.

The album continues with a series of uptempo electro tracks: "Videoscreen," "La Gare," and "Genscher Pull 'N' Push." The first two feature slightly different mixes from an earlier demo that we personally prefered over the versions that were available on the final cassette release. "Videoscreen" expands on the theme of social isolation, with lyrics reflecting on a world obsessed with watching video all day - a topic that resonates strongly with today's culture of doom scrolling and social media addiction.

Next up, "Genscher Pull 'N' Push" is an incredible electro/wave/proto-techno track recorded in October 1982 with a political edge. Originally omitted from the album, it was only available on the demo cassette we mentioned earlier. The song takes aim at German politics, with lyrics that shout "bitte geh nach links / bitte geh nach rechts" ("please go to the left" and "please go to the right"), referencing the shifting political allegiances during the 1982 coalition change, when Genscher's party, the FDP, left the Helmut Schmidt cabinet to join the CDU/CSU opposition. The track was never released as the political topic had become outdated just a few months later.

The album closes with "Light and Fire," which originally served as the album's opening track. Its quirky, upbeat vibe now makes for a fitting outro.

The gear used on this album reads like a dream list for early 80s electronic music production: Roland Jupiter 4, TR 808, TB 303, System 100, SVC 350, Korg Mono/Poly, Moog Prodigy, FRICKE-Sequenzer, Roland CSQ-100 Sequenzer, Coron DS-8, MM 12/2, Sony TC 399, TEAC-244 Portastudio, Ibanez DM 1000, EH-Electric Mistress, EV-Micro. This unique lineup of equipment sets the album apart from NDW releases of the era, lending it a distinct sound with heavy proto-techno leanings and that straightforward electro vibe we all love.

The album is being released as a very limited edition of 300 copies on transparent red vinyl, complete with a full picture sleeve and lyrics inlay. This is yet another rediscovered and restored 80s gem on our label that you definitely don't want to miss!

Continuing his inspired path into fractalised micro-dub-techno, John Howes lands his Paperclip Minimiser project amongst kindred spirits on Blank Mind. Crooked rhythms and tender machine hums hang in crisply defined virtual space — a gallery of science and soul that follows a natural lineage from the breakthrough years of the clicks n' cuts era by way of UK bass permutations.

Operating out of the UK's North West, Howes has been incubating a singular sound through his ongoing development of intuitive production and performance tools under the Cong Burn banner. The sometime record label and software stamp has a long-standing friendship with Blank Mind—the affinity is easy to hear in their shared exploration of modernist broken techno. Having just released a second album under his Paperclip Minimiser alias for similarly spirited West Coast US lodestar Peak Oil, Topology Transform extends the project's sound world with three tracks carved from the same period of studio orienteering. Free of the constraints of the LP format, these three tracks open up broader possibilities from Howes' customised systems, navigating the outer edges of the Paperclip paradox.

The A side opens on a 150BPM cascade of crunchy percussion and pin-prick ripples, driven by twitchy kinesis while maintaining a light-footed dexterity. If the first track finds its locomotion through double-time intensity, the second track celebrates the space that opens up around half-time pacing — two sides of the same tempo that radiate distinct energies. Conversely, the B side stretches out into an extended ambient repose. The consistency between this beatless excursion and the more propulsive A side speaks to the clarity of Howes' craft—a shimmering, blue-hued pool of advanced sonic treatment from a producer in command of a truly personal studio practice.

Demon Records are proud to present Osmium Deluxe - the first recordings credited to the funk-rock ensemble Parliament-Funkadelic.

Since its re-release in 1990, Osmium has been distributed numerous times by various labels in America, Europe and Japan under alternate titles – including Rhenium and First Thangs. A number of these reissues have featured material that was not included on the original album, such as unreleased tracks and singles that were taken from the same time.

This in-demand, black-vinyl version of the Record Store Day 2024 sell-out compiles together everything from that period 2 LPs and includes; the full Osmium album, the single sides that never made the album, unreleased tracks, demos and jams – all of which made their debut vinyl appearance as one package in 2024.

Many of these recordings are still as far-out as they sounded when first released. However, the tracks here represent the genesis of what would become P-Funk and the entity that would give the world ground-breaking albums Maggot Brain (1971), Mothership Connection (1975), and One Nation Under a Groove (1978). An essential addition to anyone’s collection.

April 1, 1996, saw Tina Turner release her ninth studio album, Wildest Dreams. It peaked at #26 in the Billboard R&B Chart, #4 in the UK Album Chart, and secured numerous Top 5 placements across European charts, earning double platinum status in the UK and Europe. The album featured the hit song "Goldeneye", the James Bond theme tune which saw the franchise relaunch with Pierce Brosnan in the starring role, the song was penned by U2’s Bono and The Edge. Five further singles were also released, including collabs with Sting and Barry White.

The set will be rounded out with Live In Amsterdam / Wildest Dreams Tour, originally released on Eagle Rock DVD, with newly remastered audio and on Blu-ray for the first time, and with a new booklet featuring new liner notes by UK music writer and former Record Collector editor, Jason Draper.

The 2LP 140g vinyl will feature the remastered album, now spread across two vinyl for superior sound.

Moom Sound are proud to announce Toomy Disco's second release — a vinyl EP that hits like a proper record should. 'House Commodities' arrives on 3 April 2026, channelling the raw energy of the Buenos Aires underground and the timeless feel of 2000s house. Rolling rhythms, soulful pressure, Toomy's unmistakable disco-leaning touch. This is music built equally for the dancefloor and those deeper moments late into the night — as powerful at sunrise as it is under strobes at 3am

Geoglyph is the new duo project by Alohn and Khey Mysterio, a convergence of two deeply singular practices into a single subterranean signal. Their debut album arrives as the eighth reference on Organic Signs, not as a collection of tracks but as a carved artifact: six inscriptions pressed into vinyl, mapping a sonic territory where time, rhythm and texture are no longer linear, but layered like geological memory.

Through Geoglyph, Alohn and Khey Mysterio convey a message from below, or beyond. A pulse engraved from forgotten times in the basement of reality, reactivated by abyssal basses, vibrating layers and fractured textures. Exhumed from the subterranean strata where psychedelic dub, mineral techno and fractal dubstep fuse into raw energy, their music becomes a point of contact: every beat, every silence, every oscillation acting as a coordinate toward another perception. What unfolds is not simply sound design, but an invocation, rhythms as sigils, timbre as gnosis, signals that seem to arrive already charged with intention.

Across the album, Alohn’s guitar notes fall like cascades through the mix, dissolving at times into controlled feedback and crystallizing into melodic fragments that hover between tension and release. These organic gestures are interwoven with Khey Mysterio’s dense low-end architectures and rhythmic frameworks, creating a constantly shifting terrain: from weightless transmissions and ritualistic voices to moments of overwhelming propulsion where the music suddenly breaks open with tectonic force. The record moves fluidly between meditative suspension and explosive motion, never settling into a single state for long.

A strong undercurrent of what has come to be known as “druidstep” runs through the album, a term coined within the 95 Open Tabs universe to describe a form of dubstep untethered from genre convention, rooted instead in bass as ritual, in groove as invocation. Here it meets dub-techno pulse, psychedelic echoes and high-velocity 4×4 pressure, drawing subtle influence from underground bass cultures without ever becoming referential. The result is a body of work that feels both ancient and forward-leaning, cyclical rather than linear: a living geoglyph that reveals different meanings depending on how (and where) it is read.

As the final movement accelerates into its closing phase, the album releases its energy outward, with frequencies stretched toward their limits, leaving behind the trace of a completed ceremony. In this sense, Geoglyph’s debut stands as a defining moment within the Organic Signs continuum: a record that unfolds rather than explains, offering an experience to be entered, absorbed, and carried. With this release, the label continues to explore new sonic spaces, evolving and expanding while giving deeper meaning to its own essence. A message from beneath the surface, waiting for those willing to tune in.

Más de este género

Reframed is Vitess’ third album, released on his own label Retro Futura, and marks a new turning point in his artistic journey. Unlike his previous albums — the first fully exploring the Retro aesthetic, the second embodying the Futura — Reframed brings these two worlds together within a single, coherent yet eclectic body of work. The album opens with sounds inspired by 90s progressive music and gradually moves toward more futuristic textures. This album format gives Vitess complete freedom: the freedom to build a full, living musical experience, introducing for the first time a strong instrumental dimension — most notably through the use of live drums — and allowing each track to interact with others, transform, or mirror one another, while maintaining a clear narrative thread that guides the listener throughout.

The title Reframed directly reflects this approach. The album is built around tracks conceived as Recto / Verso, offering a form of double listening experience. On the one hand, electronic, club-oriented and progressive versions, designed for energy and dancefloor movement; on the other hand, more introspective, pop and instrumental counterparts, created for listening and storytelling. Starting from the same musical foundation — a vocal sample, a percussion element, or a melody — Vitess develops two distinct interpretations of the same track, generating contrasting yet deeply connected sonic worlds. This method, central to his creative process, highlights his ability to explore a single detail in depth and let a micro-element lead him toward radically different sonic dimensions, while ensuring coherence and a strong identity across the album.

For Reframed, Vitess also collaborates for the first time with other artists: Stupid Flash, ATOEM, and Lucile, selected for their ability to enrich his universe and push it toward new aesthetics. These collaborations recreate a sense of collective energy reminiscent of his early days playing in bands, while remaining true to the essence of the Vitess project: a primarily solitary approach rooted in exploration, experimentation, and embracing the unexpected paths each idea can take.

Tone Dropout Records kick off the new year in emphatic style with a brand-new 6-track vinyl EP that stays true to the label’s unmistakable dancefloor-driven sound.

Packed with heavyweight grooves, acid lines, breaks, and bleeps, this release delivers six high-impact tracks designed for late-night systems and packed floors. The EP also marks an exciting moment for the label, welcoming two new artists into the Tone Dropout family while celebrating the return of long-standing contributors.

Joining the roster for the first time are KWAKE and Harry Light, both making a powerful debut on the label. They sit alongside Tone Dropout regulars SkyWave Transmissions and XOTR, while label co-owners DAWL and SWEEN reunite once again, delivering an acid-fuelled opener and a special bonus breaks track on Side B.

As always, the EP is overflowing with breaks, bleeps, acid, and raw rave energy.

Side A – The Head Side

Side A opens strong with DAWL and SWEEN at the helm, laying down a driving four-to-the-floor acid groover that would warm up any dancefloor with ease. It’s a statement opener — and a sign of much more to come from the duo throughout the year.

Next up, SkyWave Transmissions brings his trademark experience and finesse, delivering a tightly produced acid-bleep track that showcases depth, quality, and character. Following seamlessly is long-time collaborator XOTR, who rounds out the side with a pure slice of northern bleep excellence — unmistakably Sheffield in style and sound.

Side B

Side B introduces the first of the new Tone Dropout members, KWAKE. A long-time friend of the label, this marks his first official appearance, and he doesn’t disappoint. His track is a full-force breaks banger, capturing authentic rave energy and guaranteed to ignite the floor.

Next comes Harry Light, making an immediate impact with a pounding house-and-breaks hybrid. Impeccably produced and relentless in energy, the track lives up to its name perfectly — “POWER HOUSE.” Both newcomers arrive firing on all cylinders, delivering two massive dancefloor weapons back-to-back.

Closing out the EP, DAWL and SWEEN return with Tones Breaks 5, a three-minute breaks workout and the latest installment in the label’s breaks series. This track also serves as a respectful nod to one of their musical heroes, Frankie Bones, rounding off the release on a high.

Six tracks. All killers. No fillers.
In challenging times, this EP delivers exceptional value — a complete package of club-ready music pressed to vinyl and built for real dancefloors.

Another quality release from Tone Dropout Records.

Few French house artists have the canon and credibility of Franck Roger over such a long period of time. It seems hardly a week goes by without a new drop - or a new old drop - of gold, and here he continues his work with Seasons Limited. 'Tapis Rouge' kicks off with the sort of warming depths that have long been his trademark, this time underpinned with dubby swing. 'If I Had' is a more soulful cut with a cheeky bassline and swirling synths that are utterly ageless. 'Love Potion' is a romantic sound with dreamy pads and 'Have I Lost You' has a zoned-out feel for when you want to give yourself over to the groove and gaze at distant chords.

Mysticisms’ returns to the music of the Conscious Sounds label and their short-lived but highly prized Dub meets Funk project, Dub Specialists. Created by label head Dougie Waldrop and Chris Petter (Love Grocer) to explore their interest in samplers and a love of Funk and Jazz.

A hugely respected “Digital” and “Roots Reggae” label, Conscious Sounds has been a mainstay of the East London digidub sound for over 30 years. Dub Specialists released 3 albums on the Crispy Music sub label, they have recently gained considerable interest in digger circles, with rising prices to match.

As with their first Dubplate outing, the release features extended re-edits by the label and friends, this time featuring versions by Lexx, Miles J Paralysis, Chuggy and Vanity Project. Working with the simplicity and skill of his studio craft, Dougie utilised the Atari 1040, Cubase and Soundcraft mixer to effect. Petters’ chords sit atop reggae basslines, funk samples, loops and this time, a heavy dose of cut up vocals in to the mix.

While the first EP came from their debut album, Breat To Break, here the source material for the re-edits comes, in the main, from their second outing “Dub To Dub Beat To Beat”. A more expansive album that also dipped in to 4/4 rhythms and touches of House / Techno.

Opening track Dynamic Duo is a 4/4 stepper bomb – with samples from Adam West’s iconic interpretation of Batman – expertly extended by long-standing DJ, producer and edit master, Zurich’s own Alex Storrer aka Lexx, who dials things to max for a club stop. A new name on many lips, Miles J Paralysis takes it all back down with a beautifully drawn out, acid-tinged tripper. Bumpin’, the mid-tempo groove sucks you in, psychedelic and mind expanding.

The flip returns to the more traditional Dub Specialist vibes of Breaks’n’Funk’ cut ups, first with (co-)label head Chuggy’s faithful extension of Heavy Dub. Featuring the classic Ijahman Levi’s vocal, the breaks flow and piano / horns stab, a dance floor shaker for the discerning. To close, secret studio fixer to many, Matt Bruce again dons his Vanity Project moniker to perfectly tease and live dub (out) the half-stepper, Reality Dub and close this latest in the Dubplate series.

Beat The Mystery.

The highly praised, crazed heavy house hitters from Frits Wentink's golden Pearly world finally find their way onto vinyl. What started as a humble love letter to classic house music, in the form of sparse Bandcamp drops, quickly developed into an essential bag-on-sight imprint for house enthusiasts around the world. Four of these previously digital-only gems are now available on vinyl for the first time. Pearly Soundsystem coming in strong.

The Bait label is back with more stylish deep dubstep swagger, this time from various artists who know how to crank up the low end pressure. Eva Loveless opens up with 'Juniper red' which harks back to classic Techtonic sounds where techno and bass come together for front foot forward momentum. Slimy Ape's 'Guro' is a hefty stepper with dubby undertones and plenty of open space for the tape hiss to hiss and the conscious vocals to drift in. Furtive's 'Stormlight' is ice cold and minimal, with skeletal rhythms punctuated with clacking hits and doused in bass. Last of all, Buckley's 'Introspective' is a twitchy broken beat with classic dub techno chords and yelped vocals injecting some fragmented soul.