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Duality makes his debut on Up Ya Archives with a single rooted in the foundations of 90s jungle but shaped distinctly by contemporary sound design, epitomising his unique take on modern junglism. Intricate breakbeats and classic jungle textures are anchored by weighty 808s that guide the flow of the track, while influences from footwork, hardcore and drum & bass sets the track firmly into the space of progressive junglism. When asked on the single, Duality said

“R U Mine is the lead single from my latest project, Brainstorm. It balances luscious pads and playful synth lines with relentless drum breaks and 808s. Topped with ethereal vocals, this is one to open a set with or close out the night”.

A rising star in Bristol’s underground dance scene, Duality is staking a claim within the new wave of jungle.

“‘Brainstorm’ is exactly what the name suggests. A glimpse into the ideas that occur in my brain as a producer. Each track is a different element of my jungle inspirations, from raregroove sample-based production to 4x4 rave stabs. Ready and waiting for the dancefloor!”

Aside from his own productions, he also runs Bristol-based record label and events crew Intaception, which has hosted parties across the UK with iconic figures including Source Direct, Tim Reaper, Double O, and many more. Moving fluidly across production, promotion and musical direction, Duality continues to push the sound and culture of contemporary junglism forward.

FIRST TIME ON VINYL! “Instalação Do Samba”, originally released in 2004, has become one of the defining albums in the history of Schema Records. With producer Stefano “S-Tone Inc.” Tirone, Toco created an album that embraced the essence of samba and bossa nova while allowing them to breathe naturally within a contemporary musical landscape, blending Jazz, soul, understated electronics and sophisticated arrangements. Released only on CD at the time, “Instalação Do Samba” is finally given the analogue home it always deserved. This first-ever vinyl edition also includes “Qui C’Est Celui-Là”, previously included in the French CD edition. Over the years, Toco has become the most streamed artist in the entire Schema catalogue, introducing his music to audiences beyond the traditional boundaries of Brazilian jazz and contemporary bossa nova. His songs continue to resonate with listeners around the world, proving that authenticity never goes out of style.

As Brice shares, "Anybody can see a sunset, but a sunrise, you gotta earn. Whether you're waking up or just pulled an all-nighter, I tip my hat to you, sunriser." Brice's sixth studio album delivers hopeful and resilient reflections on love, faith, and heartbreak for all sunrisers - from firefighters, nurses, and truck drivers, to blue- collar workers clocking out of graveyard shifts, to tired parents waking up to take care of little ones. Through the lens of what defines who he is -- God, country, and family -- the awardwinning Country star encourages listeners to keep rising.

Written in collaboration with British jazz pianist and organist Kit Downes, the album was recorded in the hushed, reverberant atmosphere of Bragernes Kirke in Norway in November 2024 - a setting that lends the record an intimate, almost sacred stillness. The album was mixed and mastered by Jorgen Traeen. The album takes its title from the landmark 14th- century mystical text by Julian of Norwich - the first book known to have been written in English by a woman. Sundfor encountered Julian's writing around the same time she and Downes were performing together in churches in 2024, and the timing felt fated. Drawn to the text's extraordinary themes of hope, resilience, and its quietly radical feminine perspective, she found in Julian's words a natural spiritual and artistic continuation from her acclaimed 2023 album Blomi . The connection felt so immediate and profound that she invited Downes to join her as a full collaborator on the project.

Although best-known these days for serving up blissful Balearic beats, Chris Coco's Coco, Steel & Lovebomb project started life as a platform for his early 90s house productions. Pleasingly, the veteran British producer is now making house again, in this instance in cahoots with long-serving Italian artist DJ Rocca. On side A, they both deliver their own pass on 'Echoes In My Mind', with Rocca's fluid, warm and organic Italian dream house-meets-Balearic house pass being followed by Coco's hybrid deep house/nu-disco take. They jointly explore their love of African musical culture on languid, hazy and mid-tempo B-side 'Mama Sol Mama Africa', where fluttering flutes, warm Rhodes keys and layered percussion catch the ear. That comes backed with a lovely alternative 'dub' full of effects-laden musical details and ear-catching percussion hits.

Experience the emotion of The Last of Us like never before with this stunning Blue & Grey Marble double LP.

Performed by London Music Works, Music From The Last of Us brings together the most iconic themes from the acclaimed video games and TV series, featuring the unforgettable music of Gustavo Santaolalla, along with a piece composed by Max Richter. A must-have release for fans of the franchise and soundtrack collectors alike, presented on a beautifully crafted vinyl edition that is as striking as it is immersive.




[d] a4 The Last of Us (Goodnight) [from "The Last of Us Part I"]
[e] a5 All Gone (No Escape) [from "The Last of Us Part I"]
[f] a6 The Path (A New Beginning) [from "The Last of Us Part I"]







[n] c3 It Can't Last (Sunset) [from "The Last of Us: Season 1"]

[p] c5 All Gone (Flashbacks) [from "The Last of Us: Season 1"]
[q] c6 The Last of Us (Vengeance) [from "The Last of Us: Season 1"]
[r] c7 All Gone (Ephemeral) [from "The Last of Us: Season 1"]

[t] d2 Left Behind (The Journey) [from "The Last of Us: Season 2"]

2026 Repress
Oh yes! First ever official reissue of the positively sublime and very rare Butterfly LP, recorded in Tokyo in 1979 by Japanese songstress Kimiko Kasai and jazz legend Herbie Hancock.

Due to it's super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk. Unsurprisingly, it has been heavily in demand for many years.

The LP opens with Kimiko's highly desirable version of "I Thought It Was You", an elegant take on Herbie's own anthem. Other superb re-workings include the delicately soulful "Butterfly", jazzy groover "Sunlight", the smooth and sexy "Tell Me A Bedtime Story" and the beautiful ballads "Maiden Voyage" and "Harvest Time". A wonderful example of perfectly understated and masterful jazz-funk soul fusion that shouldn't be missed, the set closes with a jaw-dropping version of Stevie Wonder's "As".

This lovingly curated reissue enables a long overdue reappraisal of this hitherto unavailable masterpiece. The stunning artwork which adorned the original jacket - complete with OBI strip and sumptuous
4 page folded insert - has been faithfully restored. Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g. Essential.

For two decades, Pokey LaFarge has walked his own effortlessly cool road as an exceptionally iconoclastic troubadour - forthright, genuine, and markedly keen to put it all out there. Rent Money now sees him pushing forward yet again in what can be safely declared his finest collection to date, both as an heartfelt expression of personal experience and as no-nonsense social commentary.With its twanging guitars, plucky rhythms, and undeniably captivating melodies, the album soars and swings, its joyous refrains belying the inescapable undercurrent of constant worry and angst that permeates these troubled times. As always, the Illinois native deftly traverses the genre boundaries, seamlessly integrating the myriad strains of 20th-century American music with a freewheeling command of earnest songcraft, inspired performance, and subversive creativity. Rent Money stands tall as an indisputable high-water mark for Pokey LaFarge - a defining collection from a one-of-a-kind artist of rare ingenuity and uncommon candor, now as ever, determinedly crafting a sure-footed brand of deeply human music all his own. Tracklisting:SIDE AThe ThingMy Baby Loves MeHamboneRent MoneyStick TogetherSIDE BWorkStrangerCan't Take it With YouTold You NoBig Boss ManOn and On

Love is not soft.
It was never meant to be. It sweats, it pulses, it burns through skin.
It lives in the space between bodies. In friction, in tension, in heat that doesn’t ask for permission. LOVE AS A PHYSICAL FORCE is not about romance as an idea, but as an experience.
Something you feel at 5AM, when the night has already taken everything from you, and still asks for more. Across four tracks, DJ Hermano moves between intimacy and impact.
From the longing of Vem pro meu amor to the rupture of No encontrarte nunca mas, love reveals itself as contradiction:

tender and aggressive, distant and consuming. The collaboration with Cuerpos brings a raw edge. Where visceral collides with desire.
Voices don’t just sing; they confront, they provoke, they touch. On the B-side, the body takes over.

Friction Lovers and Desire and Heatwave at 5AM dissolve the emotional into the physical.

Where connection happens through movement, sweat, repetition. This is not love you write about.
This is love you survive. A record for the late-night moments, between the club and sleep.
For the moments where the line between pleasure and exhaustion disappears.
For when desire becomes the only language left. Love, here, is not a promise.
It’s a force.

Repress 2026
The Visions EP is the debut release from London based DJ/Producer duo Suburban Architecture. Drawing heavily on influences from one of Drum & Bass' most innovative and rapidly changing eras, the mid to late 90s, the duo's productions place a contemporary spin on sounds rooted in this golden era of dance music.

This 4 track EP explores a selection of sounds that meet at the intersection of nostalgia and modern production: "Visions '96" fuses atmospheric jazz samples and haunting horns with fractured drums in a manner reminiscent of Source Direct, Photek et al. "Equilibrium" meanwhile gives a modern take on the classic roller, complete with lush synth pads and rolling Amens. On the flip are a pair of jazzy steppers: "Cubic Nature" delivers more lush pads, this time paired with subtle vocals and deep atmospherics whilst "Pulses" brings some bounce to proceedings fusing 80s soul style keys and jazzy horn licks giving stylistic reference to material by the likes of Alex Reece.

DJ Support: Mochakk, Joseph Capriati, Jamie Jones, Purple Disco Machine, Groove Armada, Marco Carola ,keinemusik, Adrian Roman, Bill Brewster, Rino, Ruben Mandolini, Terry Farley, Nicolas Masseyeff, Echonomist, Robosonic, Nuno Dos Santos, diskJokke, Dan Marciano Jody Wisternoff / Way Out West, Eelke Kleijn, Henry Saiz, Digitalism, Sister Bliss / Faithless, Innellea, Adriatique, Judge Jules, Sam Divine, TSHA, Simone Vitullo, Joris Voorn, Tommie Sunshine, Fahlberg, Stijn D'hont / DJ Neon

D Stone is a rising force in Amsterdam’s electronic music scene, blending live instruments with electronic production to create his unique take on house music. His sound bridges true house to proto-disco and deeper percussive elements, as showcased in his release Total Unison. A passionate DJ and producer, D Stone crafts infectious tracks by combining samples with live instruments, driving dance floors with his grooves. Born into a musical family, D Stone was immersed in sound from an early age. His father’s influence exposed him to diverse musical styles, sparking his lifelong curiosity. He began playing piano at eight, learned guitar at twelve, and by fifteen discovered electronic music, exploring house as a DJ. A year later, he ventured into production, gaining recognition and landing his first gigs. Inspired by 70s and 80s disco, funk, garage, and 90s tech house, his music blends energy, groove, and soul. With his foundation in live instruments and his forward-thinking approach to electronic music, D Stone strives to create more than tracks—he’s shaping moments that linger in the minds of his listeners.

Envision remixed by DJ & producer Julya Karma Emerging from Brooklyn’s underground and now rooted in Berlin, her practice isn’t about fitting into a lane, it’s about finding what is alive and letting it shape the moment.

Across diverse stages and platforms from Coachella and Lost Village to Berghain, Cercle, Space, The Brooklyn Mirage, DGTL, Time Warp, Audio Obscura, Tomorrowland, and within the orbit of Innervisions, Julya’s performances reflect a commitment to exploration over formula, earning recognition from artists like Laurent Garnier, Dixon, Âme, Adriatique, Rüfüs Du Sol, and Sven Väth.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

Baxter Dury’s eighth album, 'Allbarone', seemed to be done and dusted after release last autumn, yet super-producer Paul Epworth (Adele, U2) decided it was a good idea to work on extensions of five of tracks from the album. Not just extensions - full on electro-disco mixes that take tracks apart from the edges and reorder them into relentless dance floor tools built to perfectly soundtrack the small hours.

Each track finds a groove and takes its journey right through the middle of the original track, to create classic 12" extended remixes, adding a whole load of echoing dub over flickering percussion tracks, madly addictive basslines and gloriously languid disco rhythm tracks. From 'Kubla Khan’s hefty low-end groove to 'Alpha Dog’s deconstructed nightclub dub via 'Schadenfreude’s Eurodisco bass and fizzing hi-hat pulse, Paul Epworth’s phenomenal new mixes lift Baxter’s tracks up to another level.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

The Modern Jazz Quartet had become a jazz institution by the time Pyramid was recorded. Formed out of the rhythm section of the Dizzy Gillespie Big Band (1946 -48), founding of the members The MJQ , pianist Lohn Lewis and vibraphonist Milt Jackson , brought a sophisticated blend of jazz and classical music to audiences around the world. Active from 1952 through to 1997 (with a seven- year break in between), the MJQ's 38- year reign counts as being among the most enduring ensembles in jazz history. Presented here is their classic album Pyramid , featuring three compositions by the quartet's pianist John Lewis (including his hit 'Django), alongside jazz standards by Ellington, Ray Brown ('Pyramid'), and Jim Hall; plus, a unique take on the Nancy Hamiton & Morgan Lewis' popular standard, 'How High The Moon'.




[d] Vendome [Original 1952 Version]



[h] Django (John Lewis) [original 1954 Version]

After Caposile, at the peak of his growth, now consacrate as one of the most sought and removed clubs in the Italian and world undergoing circuit, is back to release high level music, returning to pressing on vinyl in its acclaimed label the second volume of “The Sound of Garden”.

Spring 2024 deserved a release made by an exceptional cast, it will be always divided in to parts, both 12”, and it will include an incredible team of artists led by the visionary and immortal master Alex Neri, the local phenomenon known for his productions in Slow Life and Altered Circuits: Paolo Mosca, our family members and residents Twineffect and Maggio, the duo Francesco Maddalena and Manuel De Lorenzi, Lee Burton, Jamahr, Franko Lopez and Matteo Point.

A perfect mix of artists who strongly believe in the club and in what we transmit as an experience to live, these tracks are explosiveness, elegance, magnetism, each with a different facet of house music: progressive, balearic, electro, acid, this double vinyl contains everything that the dancefloor requires and it is a transposition into music of the current vibe that can be felt at After Caposile’s garden.

The first volume begins with the mastery of the multifaceted and always prolific artist Alex Neri who never makes a mistake, and even after years continues to release masterpieces, like this one: "H-Arp Odyssey", which already from the title we can imagine as an instrument takes the lead in the construction of the piece, a rush of adrenaline that immediately makes it clear what awaits us.

“Unreleased”, the track by Francesco Maddalena and Manuel De Lorenzi, is a clear representation of their way of playing that characterizes them and brings them together, and that always makes us dance, a direct groove, old school, tech-house in its most pure.

If the first two tracks get straight to the point, in side B we start with a bang with Paolo Mosca and his "Landscape", where with a maniacal arrangement, worthy of his now established name as a producer, he teleports us into a progressive world of the 90s, in Balearic style where floating pads, organs, melodies and sequenced vocals are linked to the complex and rhythmic percussive groove and the more aggressive synths.

Thus the first chapter ends with "Visions Of Disco" by Twineffect, a track where a more direct house part elegantly contrasts, which presupposes the more dance part of the piece, to then take you and envelop you in a long drop made up of a main piano and vocals that are perfect for a truly exciting moment to experience on the track.

After Caposile thus confirms itself once again in constant evolution, with an output full of new talents and sacred monsters and a European tour that continues to expand their party concept in the most important clubbing realities and the biggest festivals.

Both the first and second volumes will be released this May, ready to bring us a breath of joy and madness this summer.

Waking Dreams returns with “Fantasies,” a four-track excursion by Aline Umber and AGELESS that explores the hypnotic facets of deep house. Featuring the label’s most sought-after ID, the title track finally receives its official release, unfolding as a meditative yet driving cut built on understated percussion and an airtight groove. Lush chords douse the track’s atmosphere, while dubby synth stabs and a spoken-word vocal cut through the arrangement, deepening its hypnotic pull and transfixing the listener. Dan Ghenacia takes things deeper with his electro-tinged rework, expanding on the original’s addictive groove with angular drumwork, adding further club functionality and sharpening it into a darker, more introspective counterpoint. Two additional originals round out the collaborative EP with brighter, kinetic energy.

Release description Chesster lands on Rutilance Recordings with a four-track EP rooted in classic deep house. Blending old-school influences with a modern touch, the project captures the essence of his sound: groove-led, warm, and true to its foundations. Originally from Italy and now based in Los Angeles, Chesster has been building strong momentum across the global house scene, with a run of standout releases and defining moments over the past year. This EP marks an important step in that journey - not only as his first on the label, but also as a more personal statement. After a run of highenergy, peak-time records, the project sees him step into a deeper, more refined lane. The EP also features a special contribution from Rutilance boss DJ Steaw, adding an extra layer of character and tying it closely to the label’s identity.

Impossibly rare slab: a capital-C-cult bit of millennial business from perhaps the most enigmatic member of the Gush Collective crew, who in the early 00s not so much redefined, but refined UKG… and then some. Alongside folks like Herb-LF and Lorenzo, Yoshino was a stalwart: releasing and remixing on the legendary but somewhat overlooked German labels Draft Recordings and Gush. It was here these cats smoothed out the UKG sound with a spliffed out vibe that fucked with the raw warm herby sounds of Tyree Cooper and QX-1; Yoshino, more than most though, flirted with sounds you wouldn’t expect to find in the UKG realm: think ethereally stuff man, I’m talking Placid Angels with the pseudo Japanese pop sensibilities of Faye Wong - but when when the cards fall down, his productions equally bang. So: splice in a bit of Serious Danger and Makesome Breaksome, light a phat one or zwei… & welcome to the wheelhouse.

‘Back to Basics' is a celebration of Yoshino as an artist: featuring a repress from our favourite Gush Collective stash (which is now so dear it makes me wish I’d better taken care of my records at after parties); three first time cuts of his on wax that we’ve curated from over the years that feature appearances from Peaky Beats and Miss Angel - and of course, there’s a killer remix from deep digging DJ and producer, Enchanted Rhythms (whose Youtube archive is packed to the veritable rafters with the most overlooked gems and updated with such frequency that it is hard to keep up). Apart from being a head’s head, Rich is also part of the Pace familia, so we're happy to welcome him to the catalogon a terrain he has endlessly kept fresh since day dot - he knows his shit here, and of course, he taps into that Yoshino flava big time.

Berlin-based trio Roomer weave noise, melody, and memory into expansive guitar-driven songs. Formed by long-time friends and collaborators Ronja Schößler, Ludwig Wandinger, and Luka Aron, the band brings together distinct voices from across Europe's avant-garde, folk, and electronic scenes, folding these lineages into a sound that moves between shoegaze density, diaristic songwriting, and sonic exploration. Their music often holds opposites in suspension: clarity and blur, structure and drift, intimacy and collapse.

Their debut album Leaving It All to Chance (2025,) introduced this language in full, pairing emotionally direct songs with shifting textures and dense layers of distortion. With Staircase Made of Rope, their second album on Squama, Roomer widen the frame further. Built largely from improvisations and first takes, the record embraces instability as method, moving between density and silence while allowing melodies to surface and dissolve in unexpected ways.

180g Heavy double vinyl LP with liner notes by Tyran Grillo. Limited Japanese Obi for the first pressing. Original artwork by Russell Mills and photography by Jean-Baptiste Mondino.

The third Time Capsule is a body of dub reinterpretations by celebrated producer Bill Laswell of Ethiopian singer Gigi. Curated by Tokyo record collector, music researcher and seasoned reissue supervisor Ken Hidaka, it is the first time Illuminated Audio is pressed to vinyl after its CD release in 2003.

Ejigayehu Shibabaw was born in 1974 in Chagni, northwestern Ethiopia and by pursuing a career as a singer, went against her father’s strict, traditional gender roles. As Gigi, she embraced the same musical freedom she had strived for in her personal life, incorporating the Ethiopian church, funk, hip-hop, West and South African music into her work. She first settled in Nairobi, then Addis Ababa, where she quickly established herself as one of the city’s leading singers. A move to San Francisco in 1998 led to a long and fruitful creative partnership with bassist and producer Bill Laswell.

Around the same time, Chris Blackwell had stepped away from Island Records to start the art house film company and label Palm Pictures. He took an interest in Gigi and together with Laswell, pulled together an all-star cast of musicians for her self-titled US debut album, including Herbie Hancock, Pharoah Sanders and Wayne Shorter. It won international critical acclaim, not just for its musicianship but for making Gigi a “defining voice for the Ethiopian expatriate community”, as journalist Tyran Grillo praises in his Time Capsule liner notes. From the nation-defining 1896 victory over Italian invaders to the quiet revolutionaries who wear simple shemma garments, Grillo believes the themes in Gigi make it “a shower of sunlight on her homeland for those ignorant of its struggles.”

After its success, Blackwell encouraged them to go back into the studio to rethink the album and Illuminated Audio was born. “Anyone can make a voice sound worldly”, Grillo remarks, “but rare are those who can make one sound inner-worldly.” Gigi was clear with Laswell to give her vocals a minor role “because it’s already been done.” Instead her Amharic verse is fleeting, exhaling through the textures like ghostly fragments; soaring yet muted. Yet the album is still titled under her name, an assertion by Laswell of her central role in the album’s creation. Not only was it a fully endorsed project by Gigi, but she would be present throughout its development, giving feedback on half-finished ideas as Laswell played them back in the studio. “It works perfectly”, she reflected after the album’s release. “We wanted to capture the whole spirit of each track, and Bill’s remixes create a different music language that really puts you in a pleasant place”.

This new vocabulary takes its lead from a technical approach that Laswell had been perfecting during a furtive creative period at the turn of the millennium. Much like his ambient interpretations of Miles Davis (Panthalassa, 1998), Bob Marley (Dreams of Freedom, 1997), and Carlos Santana (Divine Light, 2001), Laswell approached Illuminated Audio by returning to the original multitrack masters. Gigi wasn’t just reworked, but recomposed into an expansive lattice of instruments, submerged in a watery ambience of dub and trance undercurrents.

Sonically, this new language that Gigi refers to, is manifested by the original album’s more understated parts being pushed to the fore. Explaining his contrasting methods, Laswell saw Gigi as being “put together in a way that fits”. Contrastingly, in Illuminated Audio, “a lot of things that I featured in the remix weren’t as audible in the original.” Instrumentation laying near-dormant, deep in the mix, are brought to the fore: the acid rock guitar and Wayne Shorter’s saxophone on ‘Tew Ante Sew’, Graham Haynes’ flugelhorn on ‘Nafekeñ’, Laswell’s bass on ‘Kahn’, the melodica in Mengedegna or the floating synths and talking drums in ‘Gud Fella’.

Brought to his attention by mentor DJ Nori, Hidaka describes Illuminated Audio as a “masterful sonic exploration into ethereal ambience and dub” and made sure this reissue also contained a full remaster to give its “deep musicality” much better dynamics and density in the overall sound. Hidaka admits that Laswell's music “is sometimes so out-there, it is often misunderstood” and, indeed, to dub album non-believers this might seem like a prolific producer imposing himself on another artist’s work; eternally developing rearrangements that never quite get to its destination. But that’s missing its true power and triumph. This is more than the reissue of a remix, but “a wholly unique musical entity”, as Hidaka describes. Illuminated Audio refers to the illuminated manuscripts that comprise the major part of Ethiopian art and its new compositions stand in proud solitude as a rare body of reworks that both informs and enhances their originals.

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

Follow up to Goodge's 2023 album Echoes Of Yesterday. Previous releases found on Hip Dozer and Cascade Records. Tracks found on the popular Spotify Mellow Beats playlist. 11th in 'Jet Set' Cold Busted series. Designed and manufactured similar to the vintage 60's style rice paper sleeves. In his latest EP, Sunday Soul, Goodge takes listeners on a four-track journey through the heart of funk, masterfully blending elements of R&B, jazz, and chilled lo-fi. Released as part of Cold Busted's Jet Set series, this four-song offering follows Goodge's 2023 album Echoes Of Yesterday and showcases his dedication to crafting timeless music. "Lights Out" kicks off the EP with heavy funk and stirring breakbeats, accompanied by a scratchy guitar that summons the revolutionary spirit of the '70s. Horns serve as a call to action, while a rollicking bass line and chunky electric piano might inspire listeners to go out and fight crime. "Promised Land" follows, featuring a formidable funk bass guitar and lead guitar chords that rhythmically play off the delightfully busy drums, creating an atmosphere reminiscent of the city's bustle. The title track, "Sunday Soul," is a rowdy affair with a speech-over-beats leading to crispy snare rolls and chiming electric piano. Shaker magic, staccato horn bleats, and spiral flute bits combine to create a swirling vintage-hued photograph of sound. The EP concludes with "Within Myself," a spacier sonic experience that could serve as the soundtrack for chasing someone across rooftops. It's funk spelled with a capital K. Sunday Soul is a must-listen for fans of of the heavier side of funk, solidifying Goodge's position as a master of his craft, creating a nostalgic yet fresh soundscape that keeps listeners grooving back for more.

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band over the course of a spring week last year, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

PURE GARAGE RETURNS WITH A CAREFULLY CURATED SELECTION OF COLLECTIBLE CLASSICS.

Pure Garage, the best-selling UKG compilation of all time, returns with a fresh stack of high value collectible classics on DJ friendly vinyl.

With a host of gold & platinum selling compilation albums under it’s belt, plus countless sold out events across the UK, Pure Garage is known and trusted by both hard-nosed purists & the casual listener.

This latest foray coincides with an incredible resurgence in interest for the UK Garage sound, bringing together 8 high collectible infectiously funky cuts, spread across a DJ Friendly 2 slices of vinyl.

Pure Garage Collectible Classics Volume 1 opens with Buggin Me by garage pioneer Zed Bias alongside Al Brown, a groovy bassline, funky beats and a great vocal hook combine perfectly to showcase the mighty Zed Bias at his funky best.

Set It Off, by Chris Mack / Flavour, is a truly collectible record. Originally only available on vinyl as a limited white label press, copies of Set It Off have been trading hands on sites such as Discogs for as much as £130… It’s worth buying this compilation purely to get hold of this track on vinyl!

Another track that is going for big money on reseller sites is Romantic 2001 by DJ Deller. With this minimal 2 step riddim having sold for up to £120. This is definitely one for the collectors.

Funkaholics aka Jeremy Sylvester rounds off the first piece of vinyl on this album with the bass heavy Down 2 Da Ground.

Vinyl 2 kicks off with the sing-a-long classic from 1998, Anthill Mobs’s track Don’t Leave Me, followed hotly by the speed garage sounds of Body Grooving by M.F. Project.

Finally, Deep Impact drops My Fantasy followed up with a regular name of the Pure Garage live event line ups, Scott Garcia drops his soulful club classic Music Takes You, rounding out an impressive batch of tracks representing everything exciting about the UK Garage genre.

PURE GARAGE COLLECTIBLE CLASSICS VOL 1 will be released on double vinyl 16th December 2022!

Vinyl Packaging: Gatefold LP + download card. Indie Exclusive Transparent Orange vinyl in gatefold jacket Limited to 1000. CD 6 panel Digipak. Gnosis is the highly anticipated 8th full length from Russian Circles. Across the span of their previous seven studio albums, Chicago-based instrumental trio Russian Circles traversed a diverse topography of sounds, moods, and approaches with their limited armory of drums, bass, and guitar. It’s difficult to chart an evolution in their sound when their records have always felt like well-curated playlists. It wasn’t uncommon to hear drone-heavy meditations, dazzling prog exercises, knuckle-dragging riff-fests, haunting folk ballads, and tension-baiting noise rock all within the span of one album. Still, it’s difficult to ignore the progression from the pensive and intricate melodies of Enter (2006) to the layered distorted dirges of Blood Year (2019). It’s been a gradual sonic shift owing to the band’s rigorous tour schedule and a predilection towards playing their more authoritative material on stage. But with their latest album, Gnosis, Russian Circles eschew the varied terrain of their past work and bulldoze a path through the most tumultuous and harrowing territory of their sound. As was the case for so many artists in the age of COVID, the obstacles of geography and isolation forced Russian Circles to reevaluate their writing process. Rather than crafting songs out of fragmented ideas in the practice room, full songs were written and recorded independently before being shared with other members, so that their initial vision was retained. While these demos spanned the full breadth of the band’s varied styles, the more cinematic compositions were ultimately excised in favor of the physically cathartic pieces. Gnosis was engineered and mixed by Kurt Ballou. Drums and bass were tracked at Electrical Audio in Chicago to maximize the natural room sounds of the rhythm section. Guitar and synth overdubs were conducted at God City in Salem, MA to take advantage of Ballou’s vast inventory of amps and effects pedals. Despite the entirety of the album being written remotely, the songs were recorded with the full band playing together to retain the live feel of the material. Owing to the climate of the times and a new writing method, Russian Circles created their most fuming and focused work to date—an album that favors the exorcism of two years’ worth of tension over the melancholy and restraint that often colored their past endeavors. European Co-Headline tour with Cult of Luna slated for Marc 2023 (Dates TBA). Russian Circles have received coverage from most notable press including Pitchfork, Rolling Stone, Stereogum, FADER, AV Club, Consequence, Decibel, Revolver and much more.

Original Press Release: ‘Headsoup’ is a new compilation that deepens the legend of mysterious Swedish psych collective Goat even further. Collecting rarities from across band’s celebrated career, including standalone singles, B-sides and digital edits and two enormous brand new tracks. It’s a globetrotting acid trip of a record that’s even bigger in its scope than their acclaimed studio LPs.


From the incendiary heavy psych of their earliest work, like debut B-side ‘The Sun And Moon’, to the serene Requiem’-era alternate take ‘Union Of Mind And Soul’, to the simmering menace of their latest material, it’s a record as multifaceted as Goat themselves, packed with detours in every conceivable direction. Taking in jazz-flute solos, pounding Afrobeat rhythms, ferocious desert blues, drifting Ethio-jazz, this is, as the name of Goat’s first album made clear, ‘World Music’ in its most complete form, a sound unrestrained by genre boundaries. Yet the band are anything but lazy appropriators. They approach their forebears with upmost reverence, articulating a celebratory cultural cross-pollination.And what about these two new tracks? ‘Fill My Mouth’ is a scuzzy psychedelic funk knockout, the sleaziest thing the band have ever recorded. ‘Queen Of The Underground’, meanwhile, is truly herculean, a swaggering psychedelic powerhouse of the very highest order. Sometimes dark and heavy, at others joyous and beautiful, like Goat themselves ‘Headsoup’ is mysterious, and constantly shapeshifting, difficult to properly pin down but constantly enthralling. Almost a decade since Goat first emerged from the depths of Korpilombo, there is still no other band on earth that sounds quite like them.

Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.

After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.

"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.

Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.

Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.

From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.

During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.

Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis

From the fires and floods of the Australian bush on her debut, Soon, which Phil Elverum reissued via his label, P.W. Elverum & Sun, tiarn now takes us to the shores of the Pacific Ocean where classical and electronic arrangements move with an ever-present longing for connection and nature. Stretton has weaved a new world, set on the brink of night, when the world is soft and suspended in blue. Living in isolation near the ocean, overlooking the winter migration of whales, Stretton would regularly swim during the brief 20-minute period known as the blue hour. Ideas would come to her in the icy salt water, and walking home in the dark, she would carry melodies back to record that night. At its heart, tiarn reflects ecological grief and the search for connection in a changing world. tiarn is also inspired by a piece of home camera footage Stretton found of her family in Japan where they lived in the ‘90s before she was born.

It shows the distant mountains, and Stretton’s young family looking over the valley in the soft static of one summer evening. Decades later, using the untouched synth her parents had bought in Tokyo in 1991, Stretton began recording music directly to that footage, letting the images dictate the melody. Voices, insects, weather, movement, and the ambient sounds of the valley are woven throughout the record itself, blurring the line between documentation and composition. The result is an album that feels less created than uncovered — something remembered rather than made. Stretton’s work continues to carve a singular path in contemporary music, balancing environmental awareness, experimental composition, and deeply personal storytelling.

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

Apex militant late '70s style here, if you think you are into steppers you should have this one firmly in your sights. One of Mr. Smart's hardest records, this originally appeared only as an album track, but also had some fame as a dubplate played at the time by Jah Shaka and others. We've long had that cut in our sights, and while some nice new re-mixes of this tune appeared in the last few years, here is the real thing from '79 steel. The A-side features the raw dubplate cut vocal, no horns or other adornment, HARD to the point stepping drum and bass style. The B-side features the original Gussie Clarke dub mix aptly titled "Hot Steppers", also previously released only on album. This cut as well was run on dubplate back at the time, a killer mix with full horns but no vocal. Leroy Smart is one of our all time favorite artists and we take pride in having re-released a handful of his all time best records, this one now added to that list.

Parra for Cuva returns in 2026 with a new LP – Nacar – and world tour, marking the next step in his ongoing artistic evolution. Known for creating immersive electronic soundscapes that combine organic instruments with detailed, emotive production, he now extends his vision with a renewed visual language and live experience that deepen the connection between sound and space.

A new release from the back alleys of Tokyo

"Prior to the vinyl release of the debut work “Vapor Curve”, which suffered a one-year delay due to manufacturing errors, the release of the mini-album “grainy film” has been confirmed."

Following the artist's previous release, this album completely eschews the use of computer-based DAW (Digital Audio Workstation) software. By relying exclusively on a strictly limited setup of hardware—synthesizers, samplers, and delay units—the artist pursues a meticulously woven, highly original take on minimal harmony.

At the core of this record lie exquisite ambient textures and beautifully shimmering synthesizer arpeggios. These are layered with the organic warmth of the sampler, vividly sketching out the contemporary "sound of Tokyo." As the album title suggests, the gritty, Lo-Fi texture of the sampler evokes the imagery of a vintage, low-fidelity film reel in the listener's mind. Pushing further than the predecessor, this approach embraces a more abstract, dubby, and deep soundscape aesthetic, elevating the album's artistry to new depths.

Describing this stoically refined electronic music, Maruyama reveals that it is "music for a cigar." It is not an assertive sound that demands to be the center of attention in the room. Instead, the moment the needle drops, it possesses an overwhelming power to transform the very particles of the room's air. The nostalgic and melancholic melodies, much like the shifting and fading trails of cigar smoke, embody the aesthetic of shogyo mujo (the impermanence of all things). Amidst a constantly changing world, it offers a desire to simply drift away in the slumber of sound—a supreme deep-listening experience guaranteed to transport you.

Trumpet player Freddie Hubbard's fusion jazz on Red Clay is something that the younger generations within jazz and hip hop admire and aspire to. The title track "Red Clay" was sampled by both A Tribe Called Quest on "Jazz (We've Got)" and Freestyle Fellowship in "Parkbench People", only to be covered by today's new vocal jazz singer José James.

It would take half a day to explain the intricacies of a song like "The Intrepid Fox". Red Clay seamlessly blends bop with soul jazz and fusion in a way that will remain unsurpassed for a long time. Red Clay was Hubbard's first album on CTI Records, after his long stint with Blue Note Records. Accompanying Freddie on this album are Joe Henderson (sax), Herbie Hancock (piano), Ron Carter (bass) and Lenny White (drums). The album was produced by Creed Taylor and recorded and engineered by Rudy Van Gelder in his legendary studio in Englewood Cliffs, New Jersey.

In 2000, after almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD revived the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. Released as a 2 x CD compilation, Part 3 is a veritable smorgasbord of classic, new and unreleased labour-of love remixes that span three decades yet still transcend space and time.

Many influential artists have been involved with The Orb since the beginning, and the project keeps evolving and adapting. Dr. Alex Paterson, the gravitation centre of the Orb is known for his playfully subversive remixes and true to form this album highlights the diversity of his musical mind.

We see the good doctor remix the melancholy and evocative “The Last Lighthouse Keeper” from The Transit Kings, an early British electronic music group that included Jimmy Cauty of The KLF, one of the original members of The Orb. The remix of ‘Davy Jones’ Locker’ from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes’ ‘European Super State’ remix (in which LSD label founder Martin ‘Youth’ Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers.
Legendary producer Youth teams up with Lx yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! Boasting an all-star lineup, the compilation includes many of our scenes most esteemed electronic music producers such as Coldcut, David Harrow, Sendelica and Gaudi as well as the ambient blissed out vibes from the enigmatic DF Tram, Duende India Collective and The Gyuto Monks of Tibet, this collection offers up such the variety to appease even the most dedicated Orbsessives and music connoisseurs

Some records are about rhythm. Others are about atmosphere. Hidden Soul EP exists somewhere in between -- a collection of electronic transmissions where intricate programming, analogue textures, melody, breaks and acid come together in a constantly shifting landscape. For their debut on Analogical Force, The 89th Passenger delivers five tracks that move between detailed electronic structures, hypnotic rhythms and deeply atmospheric passages. Beneath the machines and intricate programming, there is an unmistakable sense of melancholy, giving the record a depth that goes beyond its electronic foundations. Hidden Soul EP moves between intricate electronics and abstraction, reaching unexpected emotional heights while maintaining a strong sense of sonic depth and physicality. A record for close listening, late-night journeys and those moments when machines become something more than machines.