Suche:the great

First Contact features CROÍ, Lukey, KAIR, Sahm, and HVSN. Our first release is a compilation of tracks that we’ve been collecting and to seize all the styles and genres which we will deal with in the future.

‘First Contact’ is the first song of the VA, opening with an invitation with a combination of a nostalgic ambience followed by the drums that go along with the vocals pointing to the start for our journey. In Irish, the word "CROÍ" (pronounced KREE) means "heart". ‘Target Lock’ from Lukey, is a track that will definitely surprise you. This song is meant to push you back to the dance floor with a feeling which you don’t get very often from listening to these kinds of songs. Everything is cool with ‘Target Lock’, drums, nice trippy vibes, and how the bass fits there… You should be blown away by this song. In a real old school style! Lukey has previously caught the eye of industry labels like Hot Creations, also his release on Carpet & Snares Records, Into The Wizard's Sleeve, The Void Project was hammered by some of the great DJ’s in the world.

KAIR introduces himself to us in his own way with ‘Let's Get it!’ Because this bomb won’t fail to make you dance and feel good! It’s pure house and joyful music that makes you dance and get lost within the music. Also, ‘Let's Get it!’ is just a preview of the upcoming EP. ‘Rainbown’ is a track which shows us that Sahm knows how to come out with a brilliant house track. A groovy old school house with heavy percussion, comes from a young talented producer from Brazil! This will be the track that you’ll be playing years from now on. And ‘Bust This’, you will hear among the bass, the claps and drums, a high energy that will make you move your body. HVSN presents his vision of how to bring the right emotions of a dance floor full of energy and the connection between the bass, synth, drums and melody is back!

Enjoy, This Is Real Talks Records.

VA – First Contact RTR001 incl CROÍ, Lukey, KAIR, Sahm, HVSN

Das Italo-Disco-Projekt Plastic Mode sorgte 1985 mit dem Hit „Mi Amor“ für Furore – ein echter Ohrwurm, der in den europäischen Diskotheken rauf und runter gespielt wurde.

Jetzt erscheint die ultimative LP-Version von „Greatest Hits & Remixes“, die all die Klassiker und beliebten Remixe auf hochwertigem Vinyl präsentiert.

Diese Sammlung bietet einen umfassenden Überblick über die besten Songs von Plastic Mode. Ein Muss für Vinyl-Liebhaber, Italo-Disco-Fans und Sammler gleichermaßen – „Greatest Hits & Remixes“ auf LP lässt die Hits von Plastic Mode neu aufleben und bringt den unverwechselbaren Sound der 80er direkt ins Wohnzimmer

The Italo-disco project Plastic Mode caused a stir in 1985 with the hit “Mi Amor” – a true earworm that was played endlessly across European discos. Now, the ultimate LP edition of “Greatest Hits & Remixes” arrives, presenting all the classics and beloved remixes on high-quality vinyl.

This collection offers a comprehensive overview of Plastic Mode’s finest tracks. A must-have for vinyl enthusiasts, Italo-disco fans and collectors alike – the “Greatest Hits & Remixes” LP brings Plastic Mode’s iconic sound back to life and delivers the unmistakable 80s vibe straight into your living room

Theo Parrish has a catalogue that is pretty much classic from front to back, but if we were pushed to name a standout, 'Solitary Flight' might just be it. The shamanic 2002 sound has everything that makes the Sound Signature boss's music so great: drums that are wonderfully undercooked and live-sounding. Everything is frayed and imperfect, though the sense of lush escape that comes from the swimming strings brings to mind cruising down the Amalfi coast with the top down. Next to the original is a new live mix that is even more lived-in and warm. Unreal from the Motor City maverick.

‘The second volume of Elementa Obscura moves with even greater force toward the dancefloor : six tracks straddling the lines between industrial, electro, and wave. From FIUME’s cold, pounding opener to Memorex’s spacious analog explorations, Nyxloid’s metallic EBM visions, and Ole Mic Odd’s razor-edged electro workout, the compilation spans the full spectrum of the underground. Spanish newcomer Thai Lady Boy brings chaos with a fractured industrial techno cut, while RNXRX closes with a ritualistic music excursion.

Strictly limited to 250 copies, vinyl-only. No repress.

All tracks mastered by MA Spaventi in Barcelona.

John Devecchi is The Owl and is well known to disco and funk heads for several great EPs and his superb Concrete Funk album from 2021. This one opens with 'I Can't Stop', which is a playful number with a deep funk vocal and big horns. 'Bad Bad Feelin' has a country feel with guitar picking and harmonica that infused the low slung beats, and last of all is a deep cut sound that is enriched with jazzy horns and lively funk vocals a la Parliament and Fatback band. All three of these will bring colour and charm to grown-up dance floors.

Blue note / Schema / Far Out recordings artist shares a new compilation of golden age italian library music.

Following his acclaimed five-part Viagem compilation series celebrating Brazil's forgotten bossa nova and samba jazz, Far Out, Blue Note and Schema recording artist and international DJ Nicola Conte turns his curatorial attention homeward with Viaggio, an extraordinary exploration of Italy's library music renaissance 1970-79.

The 12-track compilation spotlights the remarkable creative explosion that occurred during the seventies: when some of the greatest yet most historically overlooked composers, including Amedeo Tommasi, Alessandro Alessandroni and Max Rocci, were composing and recording huge amounts of original music for film and television libraries.

Unlike commercial releases designed for mass consumption, library music was created specifically to accompany images on screen. This meant creative freedom for composers who imagined scenarios, feelings and worlds to soundtrack. Pressed in limited quantities, these recordings were distributed only to internal circles of music supervisors, journalists, and television professionals – making them virtually invisible to the general public for decades.

"This is a journey through a largely forgotten world," explains Conte. "While major jazz recording opportunities were scarce, an incredible network of small labels owned by publishing companies – often created by the composers themselves – began to flourish. This created an open space where musicians could express more experimental and free thinking sounds."

At the heart of Viaggio stands Amedeo Tommasi, the sophisticated jazz pianist who emerged in 1960 backing international stars like Chet Baker, Bobby Jaspar, and Jacques Pelzer. Tommasi was among Italy's earliest artists to introduce Black US modal jazz influences, and when traditional recording opportunities dwindled, he pivoted to soundtrack and library music, helping define a distinctly Italian sound that bridged experimental jazz with the emerging possibilities afforded by developments in synthesizer and recording technologies.

The compilation features rare gems from small label outputs, namely the Cenacolo and Rotary label catalogs. Tommasi's contemporaries include the great Alessandro Alessandroni and his vocalist wife Giulia De Mutiis (Kema), Stefano Torrosi (under the alias Farlocco - meaning fake/phony), and Belgian composer Joël Vandroogenbroeck. The recordings capture the technological evolution of the era as beguiling synthesis often combines with global influences spanning Brazilian rhythms, jazz-funk explorations, and Middle Eastern scales.

"You can hear both the haunting melodies and sun-kissed atmospheres so typical of Italian culture from that era," Conte observes. "Some of these albums could have been proper artist releases, while others were specifically designed for accompanying images on screen, yet all were crafted with exploratory creativity that still resonates powerfully today."

Chalice Sound next release as a music label is ready!

Following the six tracks previously released under the project MAFIA & FLUXY "MEETS" CHALICE SOUND, it's time for a brand new 7” record with Dean Fraser & Matic Horns. 4 Reggae Legends unite in this new instrumental song.

In addition to the riddim makers that are the backbone of this project; Mafia & Fluxy, this time we have 2 of the greatest Reggae Horns that exist: Dean Fraser on the saxophone & Matic Horns on the trombone.

On the B side we’ll find the track on its Riddim version, a Sound System hit for the best sessions.

A song standing for freedom in this times of war and tribulations; music against slavery & oppression, against racism & inequality.

After years of work, the two labels established by members of the Spanish sound, Cosme Deyah Productions and Infini-T Music merge together for the creation of a series of releases available on digital platforms and some vinyl singles:

Mista-T (Infini-t Music) and Cosme Deyah (Cosme Deyah Productions) have been working together for many years and now by joining efforts, Chalice Sound (est. 2000) is ready for its first releases as a music label.

This project include singles and their dub versions, having all riddims composed by the legendary Reggae musicians Mafia & Fluxy, arrangements by Maga Lion (Emeterians) and mixed by Mario Olivares (Daddy Cobra) at Cobra Studio, Madrid, Spain.

Party thrower in the land of French volcanoes, BAZⱯR takes a wax turn with the release of their very first EP!
Bringing together artists and friends from across the globe, this record reflects the crew’s journey and showcases the full spectrum of their musical vision.

From peak-time tension to trippy after-hours vibes, and sunny open-air delights, this debut vinyl is crafted to find its place both on the shelf and at the heart of every dancefloor moment.
A testimony to years of shared experiences and late-night adventures, it embodies the spirit of community that fuels BAZⱯR. With this release, the crew opens a new chapter ; one that resonates far beyond the night.

An album like a film, a childhood like a journey.



With Rêves, Senbeï unveils the most intimate and ambitious work of his career. Known for his unique blend of electronic music, hip-hop, and Asian sounds, the beatmaker reinvents himself here in an orchestral and cinematic universe, a far cry from his previous albums.


Inspired by the great soundtracks of children's adventure films—The Goonies, The Neverending Story, Charlie and the Chocolate Factory—Rêves is a sonic immersion where childhood nostalgia meets the emotional power of an orchestra.



A unique symphonic production.



For the first time, Senbeï has called upon a 15-piece orchestra, recorded in conditions close to those of film music. Strings, wind instruments, and electronic textures echo each other to create a rich, evocative universe, filled with luminous melodies and magical tension. This album is not just a collection of tracks: it is an adventure to be listened to like reading a story or watching a film.

RAWAX welcomes Giovanni Vio to the artist family! We are very happy to present you this great talent on our main label's 35th edition with four brilliant deep and soulfull techno tracks .
Worth to check!

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

A surefire Salsoul classic and comfortably one of the label's finest moments, the self-titled LP from The Strangers was originally released in that golden year of 1983 and is one of the greatest albums of the post-disco era. It’s one of Be With's favourite ever LPs and it's a complete honour to be giving it our reissue treatment.

Still strangely overlooked but not for much longer, The Strangers contains flawless tracks with truly top tier production and includes the eternal Paradise Garage favourite "Step Into My Dream."

Are they Strangers to us? Well, no, they shouldn't be. The Strangers were a US electronic-funk studio concept group comprising Edward "Tree" Moore, Howard King and Hubert Eaves III, all key members of Mtume and Gary Bartz NTU Troop and, in the case of Eaves, one half of D-Train.

Now I KNOW you're gonna dig this!

We kick off with the dope electro-funk of "Wanna Take Your Body" which features Gary Bartz on sax (!) and becomes more sensational and irresistible the longer it plays. The wonky super-bomb "Let Me Take You Home" has a punk-funk, post-Prince feel, driving and delicate all at the same time while "Show Me How You Like It" is pure FUNK, the groove just pure fire.

Side B is perfection. It kicks off with the NTS favourite "Love Rescue", a track so slick it positively SLAPS out the gate and, while it bangs throughout, the vocals and melodies elevate this to the status of EMOTIONAL POP.

Next up, "Step Out Of My Dream" swaggers forth, the undisputed masterpiece that was huge with the London DJs and UK Soul fraternity; it's not hard to see why. It's a gliding, smooth, soulful piece of once-in-a-lifetime magic.

DJ Support: Antal, I Cube, Noel Watson, Colleen Cosmo Murphy, Sean Johnston, San Soda, Takaya Nagase, Tina Edwards, Pete Herbert, Kenneth Bager, Severino, Aaron Paar, Felix Joy, Harri Harrigan, Laroye, Telford, Darker Than Wax, Rocky (X Press 2), Shane Johnson, Dan Tyler, Felix Dickinson and many more

Having previously released selected retrospectives focused on the musical output of Ryo Kawasaki and Joan Bibiloni, NuNorthern Soul has now turned its attention to the vast back catalogue of Jasper Van’t Hof’s pioneering electro-acoustic, Afro-fusion collective, Pili Pili.

The band was established in 1984 by Van’t Hof, a Dutch pianist who began his career in Europe’s jazz scene of the late 1960s, as a way of combining his love of jazz-fusion and the music of North-West Africa. Van’t Hof already had a reputation for combining roles in traditional jazz combos with more experimental and abstract projects. These included a spell in violinist Jean-Luc Ponty’s first band, years spent masterminding jazz-rock outfit Jasper Van’t Hof’s Porkpie, the recording of an all- electronic album (1982’s Visitors), and a celebrated collaborative live album with the great Archie Shepp, Mama Rose.

Pili Pili, though, was another step forward for Van’t Hof. Working with percussionists and vocalists from Benin and Mali (including the now legendary Angelique Kidou) and a string of adventurous jazz soloists (saxophonist Tony Lakoto and trumpeter Annie Whitehead included), Van’t Hof’s collective frequently combined live and programmed percussion, electronic and acoustic instrumentation, and the talented improvisor’s own memorable melodies and impactful solos.

NuNorthern Soul’s retrospective focuses on the most productive and celebrated period of Pili Pili’s near three-decade history, showcasing tracks originally recorded and released on studio albums released between 1984 and 2002. The six tracks on show offer an essential glimpse into the musical gold to be found across the Pili Pili catalogue.

In keeping with NuNorthern Soul’s previous retrospectives, the vinyl version of Selected Works 1984-95 comes with extended liner notes telling the remarkable story of this most unusual of cross-cultural collaborations. These feature extensive quotes, reflections and memories from Jasper Van’t Hof and were written by music historian Matt Anniss.

Paul Murphy’s Claremont 56 label welcomes a genuine legend of UK music to its roster – Chaz Jankel, the man whose dizzying musicality and love of soul, funk and disco did much to shape the sound of Ian Dury’s Blockheads band in the late 1970s and early ‘80s.

A virtuoso keyboardist with a deep love of Black American music, Jankel’s arrangements and compositional skills were key to the success of their records, the funkiest of which not only became crossover pop hits – see ‘Hit Me With Your Rhythm Stick’ and ‘Reasons To be Cheerful, Part 3’ in particular – but also saw heavy rotation in now iconic New York clubs including the Paradise Garage and Studio 54.

This continued during the formative years of his solo career, with ‘My Occupation’, ‘Questionnaire’ and ‘Glad To Know You’ (later famously re-edited and dubbed out for nu-disco dancefloors by Todd Terje) all becoming club hits. The great Quincy Jones also covered Jankel’s infectious single ‘Ai No Carrida’, while experimental, club-ready synth-jam ‘3,000,000 Synths’ was also influential during the early years of the electro movement.

For his Claremont 56 bow, Jankel has delivered an all-new workout recorded earlier this year, the simply titled ‘Rhumba Jam’. A typically warm, groovy and rolling affair, it features Jankel delivering infectious, stretched-out Rhodes electric piano solos over toasty bass, clipped guitar licks, warm bass, accordion-style synth motifs and a densely layered Rhumba rhythm. While relaxed and sun-soaked, it also has bags of Balearic dancefloor potential.

Murphy remixes under his now familiar Mudd alias, leaning into the track’s languid Balearic vibe while keeping a firm focus on the dancefloor. Beginning with an enticing mix of metronomic drums and jangly acoustic guitars, Murphy slowly layers up key elements of Jankel’s original – think rubbery bass, rhythmic handclaps, mazy synth sounds and those wonderful, stretched-out solos. It’s a version that pays due reverence to the quality of Jankel’s musicianship, production and arrangement while subtly extending it and reframing it for 21st century Balearic dancefloors.

Making his long-awaited return to Spatial, JLM Productions serves up another sizzling andvaried concoction of atmospheric breakbeat goodness.

A1 - Unraveling

Opening with a blissful, playful melody which fades in and out of effects and padwork,Unravelling shows off an insanely crisp 2-step break at its core - definitely suited for thedancefloor with a buoyant bassline rumbling beneath the waves. The track leaps furtherinto life with JLM adding some additional drums to elevate the breaks further still, all withserene, harmonious melodies dancing around in the mix.

A2 - Forced Perspective

A purposeful melody opens Forced Perspective as JLM Productions unleashes a stellarblend of atmospheric bliss with a unique epic urgency. Sci-fi synthwork surrounds anenergetic selection of drums edited with trademark clarity as layers upon layers of synthintertwine dynamic patterns with ease. This is a great example of JLM's expansive suite ofinfluences combining to create a deliciously detailed and unique whole.

AA1 - Surface Scan

Light cymbals commence a DJ-friendly intro to the second track, Surface Scan. Bothrousing and deep, smooth padwork leads into a drop which brings with it long, whooshingmelodic synths and crunchy stacked breakbeats. As the atmosphere develops, JLM addsin a bunch of effects and subtle, sumptuous sci-fi synthwork, strings and more to completeanother masterpiece from a true pillar of "old school brand new" methodology.

AA2 - Mixed Motive

Straight into a serving of subdued breaks perfect for the intro, JLM rounds off this stunningEP with Mixed Motive. This is a track which explores the atmospheric drum & basslandscape in style. Our creatively-edited breaks soon evolve into a crescendo of joyousdrum patterns with an old 720-style stabby melody punctuating the mix while deep &melodic basslines jostle below, adding dense texture to a stunning piece of music.

Words by Chris Hayes (Spatial / Red Mist)

A must have double sider from Harvey Scales & The Seven Seas, containing two of the rarest tracks from their much sought after back catalogue. Originals have sold for eye watering sums of over £1700 in the past, attaining to its rarity but also the sheer quality of the music pressed into its grooves. ‘Trying To Survive’ is one of the great social-consciousness anthems and a slice of pure lyrical genius, whilst ‘Bump Your Thang’ hits with a heavy funk workout, channelling James Brown-esque energy in Chicago shoes. Red label version original black sleeve.

Housewives, househusbands, ladies, gentlemen, and everyone in between… Avril A is ready for relaunch.

A - V - R - I - L

Never released Hi-NRG, synth-pop, wonky rock n' roll from a queer Manchester underground icon of the 80s and 90s.

By day, Avril Eventhal was a housewife in North Manchester's Orthodox Jewish community. By night, she was the fabulous Avril A, a larger than life cabaret performer who found a loyal audience in gay venues across the country and was adored for her outrageous live shows.

With her signature leopard print dress and feather duster in hand she delivered an unforgettable song and dance routine - as it was billed, “an audio-visual assault on the audience”.

She celebrated her unconventional style, finding joy and space for creative reinvention with the queer community.

Avril died in 2017, leaving behind a massive archive of material documenting every aspect of her career in songwriting and performance. For two years, Memory Dance has been working with Avril's niece and family on a digitisation and restoration project bringing these audio recordings back to life.

The Mighty Ryeders' rare groove classic Help Us Spread the Message has been remastered and reissued here because it forever remains a favourite with DJs and dancers. It's a timeless soul and funk blend with many a standout jams, not least 'Evil Vibrations,' a super cool and breezy groove famously sampled by De La Soul in 'A Roller Skating Jam Named Saturdays' and later covered by The Rebirth. Alongside funk staples like the aching beauty of 'Help Us Spread The Message' and the collector-favourite 'Let There Be Peace' the album blends rich horns, clavinet and deep grooves with great songwriting and vocal harmonies. Do not sleep on this masterpiece of funk.

Cody 'Coflo' Ferreira is hyped right now, and for all the right reasons. Spinning all over the world and producing killer tunes on all the right labels (including Local Talk).
But we think he is at his very best when he goes in the studio with US vocalist Lee Wilson. Even though they delivered some great tunes in the past, we can honestly say that this is the best one by far...yet.
The track 'We Can Make It' comes in two versions, one "soulful mix" for all the garage heads, and on the flip, there's a darker and more electronic mix (but still loaded with soul).

Alex Puddu returns to the origins of his first sound that launched him with the original soundtrack of The Golden Age Of Danish Pornography presenting us with a new work inspired by the music and soundtracks of hard and erotic films of the late seventies and early80s with the new album
“I Desideri di Sadie (Piaceri Tropicali)"
is the new concept album written, arranged, produced, performed and conceived by Alex Puddu, It is the first album of the erotic/hard series Sadie.
A heroic female character fantasized by Alex Puddu of a rich and charming young woman, sexy, strong, brave and free with a great spirit of adventure, always traveling around the world in search of new experiences in the erotic and dark world that surrounds her.
The music is inspired by the soundtracks of adult movies of the late Seventies and early Eighties.The story takes you into a journey set in the countries of South-East Asia and the Pacific islands, in exotic landscapes, among jungle, lush vegetation and enchanting tropical beaches. A magical trip among temptations, on the islands, to discover the beauty of the "Erotic World" of Alex Puddu

“I Don’t Know Why”, sung by Chiara Castello, is the second single from The Dining Rooms’ next album: an urban funk ballad, with a powerful and deep rhythm accompanied by great bass lines and cinematic guitars and piano. It is an intimate reflection on the fragility of personal bonds suspended between light and shadow. On this 7” the B-side is a remix of “On And On” - taken from TDR’s previous album “Songs to Make Love to” - by FUTURESLOWDUBDISCO, a music project initiated by Roman producers Simone Ticconi and Francesco Colagrande. The duo explores soundscapes that combine downtempo, minimal techno and dub. Originally a soul ballad, it has turned into an unforgettable rhythmic, ethereal and psychedelic journey sung by Egeeno from the Tropicantesimo collective.

The organist’s classic 1970 album. His third record for Blue Note and one of the key soul-jazz workouts of the era. Recorded at the Van Gelder Studio on 12th December 1969. Produced by Blue Note co-founder Francis Wolff. Featuring a red-hot backing band of tenor saxophonist John Manning, guitarist Melvin Sparks and drummer Tommy Derrick. Highlights of the album include Wilson’s dynamic originals ‘Bus Ride’, ‘Orange Peel’ and the title track, plus great covers of Eddie Floyd’s ‘Knock On Wood’ and Edwin Starr’s ‘Twenty-Five Miles’. Wilson recorded two subsequent Blue Note albums: Set Us Free and A Groovy Situation.

Break 3000 - Human Nature EP

A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.

“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.

“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.

The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.

Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.

All tracks mastered by Salz Mastering in Cologne.

Als Pionier der elektronischen Musik, vereint The Bloody Beetroots seit 2005 Elemente aus Electro, Punkrock und Dance zu einem unverwechselbaren, genre-übergreifenden Sound. Hinter dem Projekt steht der italienische Musiker und Produzent Sir Bob Cornelius Rifo, der mit Tracks wie „Warp 1.9“ (feat. Steve Aoki) und Alben wie Romborama, Hide und The Great Electronic Swindle internationale Bekanntheit erlangte. Jetzt kehrt „The Baddest Man in Electronic Music“ mit seiner neuen EP “FOREVER PART ONE” zurück. „Dieses Projekt ist mein Leben“, sagt Rifo. Und das spürt man in jedem einzelnen Beat. Keine Grenzen, keine Kompromisse. Stattdessen persönliche Geschichten, Gedanken und Momente, die The Bloody Beetroots über Jahre hinweg geprägt und geformt haben. „Dieses Release ist sowohl ein Danke als auch ein Statement. Denn in einer Welt, die Anpassung belohnt, glaube ich immer noch daran, dass wahre Rebellion darin besteht, sich selbst treu zu bleiben.“ - Sir Bob Cornelius Rifo Das ist The Bloody Beetroots. FOREVER.

FOREVER PART ONE erscheint als Digipak CD und auf limitiertem Grey Marble Vinyl.ist eine Auseinandersetzung mit dem eigenen Werden: damit, was passiert, wenn man sich der verzerrten Version seiner selbst stellen muss - der Version, die durch Schmerz entstanden ist.

Pingouin Musique, relaunched after exact 30 Years - Founder Zied Jouini
Started his musical career 1992 right in the growing House and Techno era -
Since then he dedicated himself to the underground - Past releases on AFU/ Wavescape/ Music Man
Italys famous dance Label Flying Records, Great Assets URL Underground Label, also a late Force Inc, Traum Schallplatten or his other Imprint Practical Toy and other Project just to name few.

Zied produced a safe House Track with nice portion of underground called Hymn-
He knows how to keep the balance between a Dance Underground rhythms, harmonies and short concise melodies
Very enjoyable on the Dancefloor and at home :)

A1 Original: A classic house bounce with modern finesse and hypnotic effects guide
A2 Jouzie's Give Peace a chance Remix got an electro beat with a slightly breaks touch - a full rich house vibe and a well known Vocal sample in it - Floor Filler
B1 Johnny D Remix - inter alia produced e.g. for Oslo, 8Bit und Cécille, bring up an Absolut rich full tech house groove monster - Johnny D at its best
B2 Danielle Arielli Remix - Founder of Tooflez Muzik delivers a Power House, warm and hypnotic roller with a touch of Acid Remix - Banger!

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

2025 Repress

When people think of Tough Gong they usually think of Bob Marley and rightly so, as he was nicknamed and often called Tough Gong and from this his early releases which came out on the Tough Gong label. But Tough Gong was also the name of a recording complex named after Bob Marley hat included a top level recording studio, pressing plant and distribution centre that would allow reggae music to carry on many years after his sad and too early demise.

Bob Marley had take over the former residence of Island Records boss Chris Blackwell the Island House, 56 Hope Road around 1974. Just before the 'Smile Jamaica' concert on 03rd December the same year the house was ambushed by gunmen. Bob's manager Don Taylor was hit 5 times AND Bob was shot in the arm and his wife Rita Marley was hit in the head by a stray bullet. How no one was fatally injured is staggering. Immediately after the concert Bob Marley started his self imposed exile from Jamaica, settling in London, England. This would lead to the aptly named exodus album being recorded there in the summer of 1977. It would not be until the 'One Love' peace concert in Kingston's national arena on the 22nd April 1978 that would see Bob's return to the island. Marley felt is was important to show his commitment to the people of Jamaica and on his return to 56 Hope Road he began construction of his own recording studio with the help of music mogul Tommy Cowen. Unfortunately Bob Marley's short life would end on the 11th May 1981 from cancer which originated form a football injury. His passing would lead to 56 Hope Road being turned into a museum to the legend of reggae music.

A new location would have to be found to carry on Bob's work which was 220 Marcus Garvey Drive, Kingston 11. The buyer would be Rita Marley and the Tough Gong International Organisation.

Engineers working at the new facility included Errol Browne who had worked at Treasure Isle studios and Hopeton Overton Browne known as 'Scientist', named by the great producer Bunny 'Striker' Lee who worked with him previously at King Tubbie's and Channel One's studios described his ground breaking style as being like that of a scientist.

We focus for this release on the work carried out by the great Scientist on the songs of the Black Solidarity Label run by Ossie Thomas (aka Joe The Boss) recorded at Tough Gong studios. One of the foremost recording, pressing and distribution facilities on the Jamaican island set up from the work of Bob Marley to carry forward reggae music. Hope you enjoy this set......

On April 13th, 2019 Record Day, Vega Records celebrates with the new release 'My Body' performed by none other than the Legend and King Luther Vandross. This is a song that was never released and was recorded back in 1979 by Luther Vandross when he was working on the colossal album 'Never Too Much'. Brought to Louie Vega by artist and renowned background singer to the greats Mr. Fonzi Thornton, Vega was able to work on the immaculate sounds of Vandross. As Vega recalls 'When I put up the tracks in my studio it sounded as if Luther were singing today, it made it so easy to come with the house grooves having such a perfect vocal performance and one of kind tone. Once I came with the music, I felt I needed to call his original background singer team, which Fonzi organized in a flash. He called upon the genius background singers Brenda White, Lisa Fischer, Cindy Mizelle, Tawatha Agee and Fonzi himself. We are talking the A-Team of background singers, a dream come true in my studio', Vega recalls.
The Result is a stunning art piece by Richard Wilson on the cover of the vinyl double pack 12'. There are seven versions to choose from ready to work back to back.
So not only is it record day, it's also the birthday of Luther Vandross which is on April 20,
HAPPY BIRTHDAY LUTHER VANDROSS!!!
LOUIE VEGA SENDS A BIG HAPPY BIRTHDAY TO LUTHER VANDROSS & THANK YOU TO FONZI THORNTON, SEVETA WILLIAMS, AND VANDROSS MUSIC, LLC.

Stiletti City Tape Archives is the fourth Stiletti-Ana album, showing off the Finnish mastermind’s talent for making electronic music that’s immediately inviting while generously rewarding the focused listener.
Following on stand-out work for labels like Public Posession and Höga Nord – not to mention all sorts of odd jobs within the Sex Tags multiverse – Stiletti-Ana presents his latest offering: eight irresistible jams cooked up in the hallowed halls of Helsinki’s Haista II studio.
Here, vintage and modern synths joined forces with live drums and the occasional robot-voiced interjection, resulting in a body of work that’s dazzlingly off-kilter, rich in detail and instantly addictive. The artist himself states: “I think the music has a sense of urgency which relates to city life. Still,
Stiletti City is a small and cozy place, a bit freaky and not gentrified.” Stockholm label Studio Barnhus is delighted to invite fellow travellers into this secret town – welcoming and full of surprises.

T.R.U. REALigion is the seventh mixtape by Atlanta rapper and legend, 2 Chainz and first release under his current artist name (formerly known as Tity Boi). The mixtape served as a major launching point for 2 Chainz as it was his first release to chart on the Billboard Top R&B/Hip-Hop Albums chart, and led to numerous major guest appearances ("Mercy" & "Beez In The Trap"). It achieved viral status in the mixtape era, having amassed over 1 million downloads on popular mixtape hosting site, Datpiff. Rereleased on streaming platforms for its 10th anniversary with 2 new songs featuring Wiz Khalifa & Big Sean, & now for Black Friday, the project finally sees the vinyl treatment during its original anniversary month (November 2011). Pressed on double Red, White & Blue Marbled Vinyl & housed in a denim-coated jacket, this album is a must have commemorative release for any Dirty South rap fan aficionado and serves as one of the great mixtapes of the early 2010s



2xLP, Pressed on Red, White & Blue Marbled Vinyl & Housed in a widespine jacket inside an embroidered denim outer slipcase.

Ethernal is Daydream’s sublabel dedicated to the micro side of house music. After a two-year hiatus, the seventh volume welcomes back the great MJOG. This historical figure of the label delivers three groovy, minimalist tracks brimming with raw elegance. The release is topped off with a powerful, energetic remix from the brilliant Makcim & Levi, who make a remarkable appearance more than six years after their last release.

led by guitarist seiji hano, the jazz group om released only one album — solar wind, a landmark work that stands as one of the greatest achievements in japanese ethnic jazz. now, this masterpiece is finally being reissued.

their sound, seemingly a response from japan to ecm artists such as oregon and codona active during the same period, is refined yet imbued with a distinctly japanese sense of wabi-sabi — melancholic, nostalgic, and deeply resonant.

from “windmill,” featured on studio mule’s compilation midnight in tokyo vol.2, to every other track, solar wind is a flawless album with not a single weak moment — a true masterpiece of japanese jazz.

Two years after making their bow via a fine contribution to the Claremont Editions 3 compilation, Nuremberg’s Neumayer Station are ready to drop their debut full-length excursion, the mesmerising and immersive Crossings.

The brainchild of drummer-turned-producer Michael Kargel, a musician with a bulging CV that includes stints in various German indie-pop and rockabilly bands, Crossings was co-produced and mixed by Frank Mollena (best known to Claremont 56 fans as the man behind the Fürsattl and Bambi Davidson projects), with additional contributions by Alexander Sticht and an impressive roll call of guest musicians plucked from Nuremberg’s vibrant musical underground.

Recorded at different points over the last three years, the eight tracks showcased on Neumayer Station’s inspired debut album draw influence from the hypnotism of classic German ‘kosmische’ recordings, the freewheeling and stoned headiness of CAN, and the gently unfurling beauty of sun soaked Balearica. Kargel, Mollena and their collaborators set the tone with opener ‘Unterführung’, where Sticht’s layered and sonically hazy vocalisations rise above space-rock guitar motifs, droning analogue synth sounds, languid bass and slow-motion drum breaks. With effects aplenty and all manner of melodic electronic flourishes, it’s a deeply psychedelic and mind-expanding affair.

‘Nalut’ follows, with Kargel’s own atmospheric howls and whistles cannily combining with sun-bright tropical guitars, echoing chords and delay-laden saxophone solos riding the dub-flecked, low-slung groove. The collective’s Balearic influences are explored in more sonic detail on ‘A Gentle Flow’, a shuffling and soft-focus affair marked out by emotive piano & jazz guitar, brushed percussion, sunrise-ready synths and pleasingly stretched-out electronic textures. Neumayer Station return to this drifting, morning-fresh and eyes-closed sound later in the LP, via the wonderous ‘Von der Morgenröte’.

The heady influence of spaced-out dub production techniques comes to the fore on ‘Bassrutscher’, an Alexander Sticht co-production rich in Americana-influenced guitar textures, metronomic dub bass, rim-shot heavy drums, mazy organ and orange-hued sundown sounds. It ushers in the more up-tempo shuffle of ‘Zielgerade’, an inner space, out-of-mind affair whose driving but loose-limbed groove provides a platform for exotic, droning and otherworldly guitar, sax and synth sounds. As with all great albums, Crossings gently builds towards a triumphant and memorable conclusion. The spacey Balearic/kosmische crossover of ‘Feeling Forst’, where darting intergalactic synth sounds rub shoulders with gentle acoustic guitars in a hallucinatory soundscape, tees up closing cut ‘Crossings’, the krautrock-rooted, sax-sporting slab of enveloping late-night beauty that first introduced listeners to Neumayer Station back in 2023. It’s a fitting conclusion to a staggeringly good debut album.

Dot / Stephan Bazbaz - Split EP Vol. 2 (Depthful002)

Depthful returns with its second release, following the success of the first release by label owner and artist Dotan Bibi aka Dot.

In the second release, Dot returns to collaborate with his close friend and artist Stephan Bazbaz for their second split EP, following the great success of the first one released back in 2017 on Stephan's label, "No waves"

A1. opening With Dot's track 'Hoag’s Object'. is an intriguing fusion of house and dub influences, balancing the pulsating energy of house with the relaxed, spatial vibes of dub. From the start, listeners are greeted with a deep, groovy bassline and lovely acid line, that immediately establishes a rich foundation for the track.The rhythm section and congas is tight and persistent, with the signature rolling beats of Dot's sound laying the perfect backdrop for the track's sonic landscape.

A2. 'Fading Fast' isn't just a track; it's an experience. If Hoag’s Object laid down the groove with subtlety, 'Fading Fast' fully submerges you in its rich, atmospheric depths. From the very beginning, there’s a sense of movement - like something slowly emerging from the mist, with deep, resonating bass frequencies that pull you into the track.The rhythm section feels almost submerged, like you’re hearing it from underwater. The inclusion of short, scattered vocal samples in 'Fading Fast' adds an extra layer of intrigue and emotional depth, without pulling focus from the track's atmospheric core. Rather than traditional, lyrical verses, these vocals appear like fleeting whispers - fragments of a larger story, almost like half remembered phrases.

B1. opening with Stephan's track 'Overload' and it feels like an immediate shift in energy, where the vibe ramps up with pure house power. This track is all about the rhythm, the groove, and, most importantly, that bassline that keeps you locked in.
From the first beat, it’s clear 'Overload' isn’t messing around. The drums hit with a sharp, punchy attack, but it’s the bassline that truly makes this track shine. Deep, low, and relentless, the bassline pulses in a way that feels almost like it’s driving the entire track forward. There’s something about the way the low end sits in this track that makes it feel alive especially with the warmth of the lovely deep pad Holding the whole track underneath.

B2.'Better in Space' is the closing track of the record, it feels like a natural continuation of the vibe that’s been built, but also a final statement that allows the listener to fully sink into the deep, spacious world Stephan is known for. With this track, we’re stepping into a place where dub and deep house collide seamlessly, creating an atmosphere that's both expansive and intimate - taking us out there but also pulling us inward. From the very first moment, 'Better in Space' sets the stage with a warm, enveloping bassline that instantly grounds you.

Mastered By Pheek
Designed By Idan Am-Shalem

LTF began as a 90s b-boy who was raised on funk and hip-hop before he even knew the names of the music he was hearing. Under the influence of early greats like DJ Shadow, Beat Junkies and Cut Chemist, he dove into turntablism and spun breaks across Siberia while digging for records. Once he discovered the sampler, his world shifted to loops, chops, basslines and scratches. His debut project Dapdown earned local buzz and global connections, including France's Black Milk Music crew, and a decade ago, while armed with Soviet synths, double bass, and dusty vinyl, he dropped his first solo album, Light The Fuse. It's truly raw, expressive, beat-lover's soul with a heavy groove that has been remastered for this reissue via Tunes Delivery.

Plastik People keep it deep once more with a new outing of their ongoing Collections series. There is plenty of ol' school nostalgia in the opening cut, Ricky Montanari's 'Back To Love', with its US garage snares and dusty piano stabs making for a great mix of drive and soul. There's a pared-back dub version too plus an amped up and sweaty Dave Charlesworth dub of Aurora B's 'Good Love.' Last of all is the hurried and soulful house whomp of 'Hard Times' (original 96 mix). Four very useful jams.

Siggatunez makes his debut on Small Great Things with E-Motion EP — a heartfelt journey through deep, soulful house grooves and late-night dancefloor therapy.

This 4-track offering captures his signature blend of emotive textures, lush instrumentation, and raw rhythmic energy, cementing his place as a storyteller in sound. Whether it's the uplifting vibes of “U Give Me Hope,” the vocal warmth of “Keep On” and “Don’t Let Me Down,” or the introspective closer “You,” E-Motion EP moves with both heart and purpose.

From the uplifting opener “U Give Me Hope”, to the introspective warmth of “You”, each track pulses with intention. “Keep On” (featuring Pilar Jordan) inspires persistence and groove, while “Don’t Let Me Down” (with a soulful turn from Vany T Fair) delivers a rich, vocal-driven depth perfect for sunrise sets.

Both timeless and contemporary, E-Motion EP is a testament to Siggatunez’s ability to translate feeling into frequency. Pressed on wax and available digitally, it’s music to move bodies—and hearts.

Support by Green Velvet, Rebolledo, Dr. Rubinstein, Cormac, DJ Hell and many more! Summer 2013, Comeme label's studio - The District Union. Behind the analog console and hardware - 20-year-old Philipp Gorbachev and Djs Pareja from Buenos-Aires. No plugins, reels, or LTE. Sweltering heat, peak of summer EU tour, the musicians had just a few hours to record. The track drops on the label's compilation and immediately lands in a mix by Chicago legend Green Velvet. It spreads afterwards in all possible ways - Do You Believe in House Music? is blasting in bars, DIY spaces, raves, cars and street parties, the lyrics get sprayed on walls or inked as tattoos System 108 proudly presents the official reissue of the original, boosted with brand-new remixes from shining artists of the Russian dance scene - those whose journeys also began in the 2010s and who, in some way, crossed paths with either the track itself or that very vibe of faith and love, without which a dancefloor can hardly pulse with life. A house is not a home, when there's no one living there

Mario Biondi is a singer and composer, born in Catania, Italy. In 1988 he had an important opportunity as support act to Ray Charles' Italian dates. His love for soul music helped shape his particular vocal styling that takes its cue from great vocalists like Lou Rawls, Al Jarreau and Isacc Hayes. His first big break came in 2004 with the original release of the single "This Is What You Are". Originally planned for release only in Japan, the cool and irresistible song gets noticed by European radio.

Well-known DJ, Norman Jay begins to feature the song on his BBC1 show playlist and Mario's incredible voice crosses the European continent ahead of the artist himself. His album "If shot up the charts and went triple - platinum. 'This Is What You Are' is one of the most important and iconic Italian jazz vocal tracks of the last decade

Noumen returns to Central Processing Unit after a six-year absence with Altum. This bumper record, the Ukrainian artist's fourth release for the Sheffield label and first since 2019 double-LPObscurium, serves to remind us all why Noumen's music has been lauded by the likes of Mixmag and Resident Advisor in the past.Altumis a consummate piece of contemporary electronic production, a technoid exploration of outer-edges electronica that nods to genre greats like Autechre while still maintaining its own unconventional charm.

Across well over an hour of music here we find Noumen repeatedly playing punchy mid-tempo beat work off of some more cerebral tuned synths.Altumkicks off with the epic 'Oion' - beginning in that Autechre/AFX mid-tempo zone, full of deep-sea bangs and whirrs, the track slowly builds to a final stretch of delay-drenched keys which set us free amidst the outer cosmos, almost Sun Ra-style. It's a perfect liminal-space roller and an apt scene-setter forAltum.

'Oion' provides a blueprint for several of the album's other highlights - plenty of the joints here adopt that same approach of hitting hard with the drums and soft with the synths. Second track 'Splitter' takes on the baton from 'Oion' while souping up the kick to warehouse levels; the beats in 'Far Wind' splutter like a needle skipping on a mid-90s Tresor drop; 'Fate Carette', all eerie looped synth leads, is a highlight as the album enters the home straight.

The rhythm production (which, it should be noted, is exemplary throughoutAltum) is ratched up in intensity on a handful of numbers. 'Telemask' displays a delightful breakbeat - if you'd told me this was sampled from golden age A Tribe Called Quest, I'd have believed you. Mid-section anchors 'Awe' and 'Axis' are glitchers in the Mike Paradinas mould, with the latter showing off some pleasing steel pan-esque synth leads for good measure. And whileAltumgenerally maintains a processional pace throughout, there are points where Noumen toughens up the drums for club deployment - 'Unveilness' shows off a real chunkiness in the low end, closer 'Spurling Sign' plays a satisfying rolling groove off of ever-layering synths, and the title-track is an alien machine-funker in keeping with fellow CPU electronauts like Silicon Scally and Cygnus.

Noumen's third album for Central Processing Unit is a pleasingly hefty double-LP which builds on the zany invention of acts like Modeselektor and Autechre to delightful effect.

FFO: Autechre, Aphex Twin, Modeselektor, Bochum Welt, LFO

"The machine looms—it watches you from within. The finger points, but the face is missing."

The Bristol/Amman connection just got even deeper… following DBL's impressive string of Avon-infused heaters (check the recent scorchers from Nzumbe, Content Provider and 2023's 'Weld'). And we're well informed there's even more of this cross-continental greatness to come…

But first...

Kinlaw & Franco Franco. ATC's original prodigal sons. A two-headed nephilim with an ever-growing tally of near-biblical performances – leaving shook audiences coughing dust for months after. Resurrected for 2025.

Those familiar know their hallowed-dogma – brimming with cyberpunk prophetics, surveillance state paranoia and rusted gothic futurism. Each chilling sermon accompanied by a bespoke blend of crusted sonics, taut future-concrète prangers and only the finest industrial-trappist beats.

Back with renewed precision. 11 hot-kneelers for your mental.

On 'Faith Elsewhere', they lead the congregation into uncharted waters with pop-confessional, 'Pitstop 2024'. There's a fresh revamp of the beloved feudal anthem, 'Crocs on the Plough'. Next, a long-fermented, yet still refreshing, kind of chamber-wave on the album's self-titled track. And there's even a touch of the devotional in the final ethereal reprise… Plus, there are plenty more teachings to be found elsewhere…

The writing's on the wall. Accept no false idols. Now pull up your cushion and kneel at their altar. It might just be their best yet….

"In the holiness of their temples, unsuspecting worshippers were being observed by indiscreet eyes."

Big Thief will release their sixth studio album, Double Infinity, on 5 September 2025.

Double Infinity is the follow-up to 2022’s Grammy-nominated album, Dragon New Warm Mountain I Believe In You, recorded last winter at the Power Station, New York City. For three solid weeks, the trio would ride bicycles on frozen streets between Brooklyn and Manhattan, meeting in Power’s Station’s warm wood-panelled room. Together with a community of musicians (Alena Spanger, Caleb Michel, Hannah Cohen, Jon Nellen, Joshua Crumbly, June McDoom, Laraaji, Mikel Patrick Avery, Mikey Buishas) they would play for nine hours a day, tracking together – simultaneously – improvising arrangements and making collective discoveries. Double Infinity was produced, engineered and mixed by longtime Big Thief collaborator Dom Monks.

“How can beauty that is living be anything but true?” Adrianne asks as she drives nose against the future with childhood mementos on ‘Incomprehensible’. She understands, “everything I see from now on will be something new.” The silver hairs on her shoulders are new as well. Yet fear of aging is cracked by proof. If a life is shaped by living, “Let gravity be my sculptor, let the wind do my hair.” Being born, then staying a while, remains the greatest mystery. Adrianne claims her place and time. “Incomprehensible, let me be.”







g 7. Grandmother ft. Laraaji







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g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







g 7. Grandmother ft. Laraaji







[g] 7. Grandmother [ft. Laraaji]







[g] B2. Grandmother [ft. Laraaji]







[g] B2. Grandmother [ft. Laraaji]

Updated remixes of two big Balearic classics on Best Record! "Describing Linda Di Franco is no easy task: a reserved, sometimes elusive artist with a career that is difficult to define. From an early age she was interested in various artistic fields. Working as a DJ in clubs, then on the radio, she took the opportunity to record her first musical demo, Stage, obtaining international recognition which quickly took her to England and to the States, where she recorded her first compositions, My Boss and T.V. Scene. The songs are of great value and achieve unexpected success, also included in The Rise Of The Heart, a milestone in the nascent revolution of club culture, a Balearic classic supported by DJs in love with the indefinable sound of Ibiza. But Linda is extraordinarily ahead of her time and despite the enormous fame has gained with her songs she is already oriented towards a career as a music video director. For this reason the Turin singer-songwriter turns out to be one of the least fruitful artists of her time, while her CV in Hollywood is impressive in various roles which she holds, in addition to that of actress and director, that of impeccable sound technique. Intelligent artist, full of good and positive feelings and certainly also ambitious, but extremely scrupulous by subjecting sounds in cinema to careful review. Yes! The "sound" is an investigative tool for her, a way of understanding art. Linda Di Franco is - willy-nilly - still the undisputed queen of the Balearic sound today. So, she decided to produce Redux, a limited edition album published by Best Record, in which her most intrepid and famous songs are re-proposed in the jazz versions edited by her friends from Turin and Los Angeles. Then she had to give in to the boundless passion of Danilo Braca, the Italian DJ based in New York, who deserves credit for the successful combination of refined and ethereal songs with the disco genre. TV. Scene - Epic Remix, TV. Scene - Costa del Sol Mix and My Boss - Remix are Danilo's pearls, created with the help of excellent international musicians who with more defined and current sounds have added their art to that of Linda."

The 2017 groundbreaking debut EP for Tamino-Amir Moharam Fouad, Tamino in short. The grandson of Egyptian actor/musician Moharam Fouad stormed the charts with the brilliant single 'Habibi', a song that envelops itself in a mist of melancholy and gloom. Tamino's phenomenal voice, ranging from a deep croon to a towering falsetto, goes right to the bone. He combines the tradition of the greatest singer-songwriters with his own Arabic roots. Belpop history was made right there.

Heavyweight groove from ERP — deep electro pressure with Microcentric on the flip, plus a killer Convextion remix. Pure machine soul for late-night heads.

DJ Feedbacks :


Pariah : amazing
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Ben Sims : Now downloading... will check asap!
Luke Slater : Thanks!
Dave Clarke (white noise radio) : Seismic and well crafted, full support
Peverelist (Livity Sound) : Awesome, thanks!
Tensal (Tensal, Falling Ethicss) : great, Gerard always on point, thx
Call Super (Houndstooth) : thxxxx
Confidential Recipe (Rekids Special Projects) : great ep!
DJ Bone (FURTHER) : The Convextion remix is fire.
Monty Luke (Rekids / Black Catalogue) : solid ep
GiGi FM : <3
Jon Hester (Rekids, EDEC, Les Enfants Terribles, L.A.G.) : Fantastic EP across the board, amazing stuff!!
Jako Jako (BPitch Control, Tresor) : Schön!
Dan Beaumont (Chapter 10 / NTS) : Brilliant! love the Convextion mix
Satoshi Tomiie (Abstract Architecture) : Next level production and quality. Hats off
MoMa Ready (RAVE UNIT, HAUS of ALTR, Method 808) : great remix
Josh Wink (Ovum) : Usually good and sensual Electro from E.R.P.
Carista : love the remix of convextion
DVS1 : Thanks!
Inland : Ace! the remix is so lush! Thanks
Laurent Garnier : Ohhh whaouuuu - THIS IS SUPERB Full support
Radio Slave (Rekids) : I'm sold... This is great and I really love all the tracks.
Marcel Dettmann : thx
2562 / A Made Up Sound (Delsin, Clone) : The Convextion version is fire! Thanks :)
Bake (All Caps/Rinse FM) : love! <3
Interstellar Funk (Rush Hour) : Sounds great! Thank you
Efdemin (Dial) : Insanely good ep from the master!
Darko Esser / Tripeo (Balans / Clone) : Always good in my book, fantastic record!
Bailey Ibbs (Metafloor Records / Habits / Dansu Discs) : Make Electro Great Again!!
Nathan Jonson (Hrdvision) : rad!!!!
Uncertain (RSPX, WRKTRX, Suara) : convextion remix for me
Dj Deep (Deeply Rooted) : super nice release!
ROD / Benny Rodrigues : !!!!!
Surgeon (Dynamic Tension Records) : Great work. Love all tracks. Will play Convexion remix in my DJ sets for sure.
Steffi (Dolly) : simply grea!!!!!!
Kr!z (Token Records) : absolutely fantastic, as always
Phase Fatale (Ostgut Ton, BITE, Hospital Productions, Jealous God) : awesome!
Theo Nasa (Rekids) : WICKED!!!
Kosh (Syncrophone) : Lovely release
Subradeon (Subradeon Records) : interesting stuff! thanks for sending. Convextion rmx is my fav!
Gramrcy (Peach Discs/FTD) : Convextion remix is sick
Stephanie Sykes (Vent) : All tracks are sounding Super nice!!! TY!!! especially feeling Four Alone, so beautifully nostalgic. Cant wait to play!
Tal Fussman (Survival Tactics / Innervisions / Cod3QR / Drumpoet / Rekids) : oh yes
Richie Hawtin (M_Nus) : downloaded for r hawtin
Alan Oldham (DJ T-1000) : Super high quality electro, but the Convextion remix is the one I'm more likely to play out. Will support!
Ben UFO (Hessle Audio / Rinse FM) : convextion remix!
Truncate : Dope cuts thanks
Jonas Kopp : Excellent stuff, but this more of the pre-existent material.
The Advent : amazing stuff, digging all the tracks.. 2 - E.R.P - Microsentric my Fav..
Ste Roberts : Absolutely out of order! Anything Gerard touches turns to gold. 10/10
Joris Voorn (Spectrum) : Downloaded, thanx.
Roberto / R.M.K / Fossil Archive (Fossil Archive) : Love this!
Raffaele Attanasio (Axis) : nicee1!!!
DJ Assassin (Recode Records / Cross Section / Connaisseur) : wicked

Category 1 Music Sampler - Vol. 3 illustrates how the world’s most talented artists, producers and remixers come together to create great house music.

Beginning with 'I’m Alive (Touch the Sky)' featuring 2 of Chicago’s most iconic figures, Ron Carroll and Glenn Underground, it contains all of the elements that represent the ultimate Chicago soulful house production.

Shawn Christopher, another Chicago mainstay, has teamed up with the UK’s Richard Earnshaw and Ron Carroll to deliver a rousing Gospel inspired gem, 'He’s Got It'. This track will get everybody moving, whether it’s onto the dancefloor or off the sofa!

Terry Dexter’s hit, 'You Saved Me' is given a hard driving Garage infusion by UK born Marc Cotterell. It’s a fresh approach that’s been universally acclaimed. Lastly, the world-renowned DJ, Eric Kupper is the force behind Ron Carroll’s production of Aires Adora 'Magic Carpet Ride'. Eric’s big room touch is unmistakable throughout this masterful remix

Rights: World excluding FR & UK

Packaging: 2 x Gold-On-Clear Splatter Vinyl, 5mm spine sleeve, 2 x printer inner sleeve, marketing sticker

SHORT BIOG & KEY POINTS
" Goldie's 1995 debut Timeless is often described as one of the greatest dance music albums of all time. As one of the founders of Metalheadz, one of the most influential drum and bass labels, Goldie helped shape the sound of a generation, and a genre that has spanned over 3 decades.
" "Listening to Timeless is like taking an adventure. If the limits of music are the limits of society, then Timeless is going to create new worlds. It's a record that travels from darkness to light across electronic oceans, across streetsoul, ambience and jazz."

" London Records celebrate 30 years of Timeless with limited edition vinyl formats, re-imagining the original white sleeve and putting the album on double vinyl for the first time since '96, with new liner notes from Tim Carr. Remastered audio.

Rights: World excluding FR & UK

Packaging: 2 x Gold-On-Clear Splatter Vinyl, 5mm spine sleeve, 2 x printer inner sleeve, marketing sticker

SHORT BIOG & KEY POINTS
" Goldie's 1995 debut Timeless is often described as one of the greatest dance music albums of all time. As one of the founders of Metalheadz, one of the most influential drum and bass labels, Goldie helped shape the sound of a generation, and a genre that has spanned over 3 decades.
" "Listening to Timeless is like taking an adventure. If the limits of music are the limits of society, then Timeless is going to create new worlds. It's a record that travels from darkness to light across electronic oceans, across streetsoul, ambience and jazz."

" London Records celebrate 30 years of Timeless with limited edition vinyl formats, re-imagining the original white sleeve and putting the album on double vinyl for the first time since '96, with new liner notes from Tim Carr. Remastered audio.

Bringing together the elder statesman of the Zulu guitar Madala Kunene and internationally acclaimed Sibusile Xaba, kwaNTU pulls two generations of South African guitar mastery into a single point of focus. Under-represented on recordings outside of South Africa, Madala Kunene (b. 1951), the ‘King of the Zulu Guitar’, is revered as the greatest living master of the Zulu guitar tradition. Sibusile Xaba, whose collaboration with Mushroom Hour Half Hour reaches back to his first recording in 2017 (Open Letter To Adoniah/Unlearning), has garnered international acclaim for his unique voice and virtuoso guitar stylings, which bring together multiple South African guitar lineages in an original, spiritualised fusion. Collaborating with Mushroom Hour and New Soil for kwaNTU, the two players come together to weave a filigree sonic fabric which reaches down to the heartwood of Zulu guitar music but moves resolutely outward, building on the past to create a deeply rooted statement about present conditions and future travels. kwaNTU – which can be roughly translated ‘the place of the life-spirit’ – is also conclave of teacher and student, as Xaba has been taught by Kunene for the last decade. Meditative, rich and sonically sui generis, kwaNTU finds these two musicians linking up within the inimitable space of sound and spirit that they share through Kunene’s teaching.

The great masters of South African music have not all had equal exposure. For many years the generation of musicians who were exiled during apartheid took centre stage, as the regime made it very difficult for those at home to be heard. More recently, a new cohort of important voices, especially in jazz, has broken through to international consciousness. But for the generation of musicians in between – those who shone like beacons in the most difficult final years of apartheid and immediately afterward – international recognition has been slow in coming.

Madala Kunene, ‘the King of the Zulu Guitar’, is among this number. A revered figure for current generations of South African musicians, Kunene began his recording career in 1990, at the bitter end of apartheid, with a now classic self-titled LP for David Marks’ storied Third Ear imprint. Born in 1951 in Cato Manor, near Durban, he had determined to be a musician from early childhood, and by the time he first entered a recording studio he had already had a long career as a popular performer. His virtuoso absorption and transformation of the venerable Zulu maskanda guitar tradition and his richly spiritualised approach to music immediately marked him out as someone special, and in the years that followed, Kunene cemented his position as one of South Africa’s musical elders. He is without doubt the grand master of the Zulu guitar tradition, but his sound and sensibility ranges far beyond it into varied sonic terrain, and he has collaborated with a wide range of musicians both at home and abroad. Now in his mid-seventies, he remains a shining light for those that are making music in contemporary South Africa.

‘He is really an amazing person,’ says the guitarist Sibusile Xaba, who has been mentored by Kunene for over a decade, and now invites a collaboration with him on kwaNTU. ‘As a mentor, he's really powerful in showing us the way. For us to have this opportunity to make music together and have a project together is really a blessing to me.’

Xaba himself grew up in Newcastle, KwaZulu-Natal, where his mother had been in a band and his father sang in a church choir, and from early childhood Xaba played homemade tin guitars. He only later realised that music was his calling. ‘I just loved music. I was fortunate. My parents loved music. And when it was time for me to leave home and go to study outside Newcastle, I knew that music was what I wanted to do. There was no second option. It was just music.’ Moving to Pretoria to study music formally, Xaba committed himself to his craft, developing a unique style that draws on both US jazz masters such as Wes Montgomery and Jim Hall, and the rich and varied heritage of the South African guitar, from inspirational jazz players such as Allen Kwela and Enoch Mthalane, to the music of the Malombo groups and Dr. Philip Tabane (Xaba has previously collaborated with Dr. Tabane’s late son, Thabang), and the Zulu guitar tradition embodied by Kunene.

‘I was really in love with the jazz guitar, I really admired it, and I was digging a lot in that direction,’ says Xaba, recalling his first encounter with Kunene’s music, over a decade ago. ‘And then one day on my timeline, Kunene popped up, and I was like – “What's this sound?” I was so connected to it. It really touched me deep. I started checking out his records, and then I found out he's from the same region as I am, which is Zululand.’ After Kunene played a show at the Afrikan Freedom Station in Johannesburg, Xaba make contact with him, and visited him at home in Durban. They struck up a friendship, and Xaba became the elder’s student, as Kunene began to pass on his knowledge and his inimitable way of playing.

kwaNTU is a tribute to this relationship and the deep learning that has defined it. The album was recorded in Zululand in the town of Utrecht, at a cultural centre called Kwantu Village, which gives its name to the album. ‘It's such a broad word,’ Xaba says, ‘but the elders teach us that Ntu is basically an energy, almost chi, an energy, a force that all living beings have within them. It's a living energy, so kwaNTU is like, almost the place of this energy.’ The two men sequestered themselves for five days of jamming, improvising and planning, and then the session was recorded in one take over a single night, with Gontse Makhene joining on percussion and backing vocals and Fakazile on vocals. Other voices and overdubs were later added in the studio in Johannesburg.

The result is a rich and meditative recording that finds two generations in a deeply engaged dialogue. Teaching and passing on his knowledge, the elder Kunene has brought Xaba into a space of sound and knowledge that they now share; Xaba’s own practice of deep communion with nature and his dedication to his musical craft make him the perfect interlocutor for Kunene. The result is an album that foregrounds the two musicians engaged at the highest levels of responsive listening, sympathetic unity, and collaborative concentration. Bringing an elder statesman of South African music to an international listening audience for the first time in decades by pairing him with one of South Africa’s most important new voices, kwaNTU is a meeting of generations and a powerful demonstration of musical lineage and continuity.

‘Before music, there is sound,’ Xaba observes, speaking of Kunene’s unique approach to music. ‘And sound is like a common compartment…it's not restricted to particular people or particular geographic places, you know what I mean? It's sound. Everybody can hear it. So when he constructs that sound into music, I think everybody resonates with the energy behind his construction of sound into song. Here at home, we really love him for preserving our history through the guitar, through his stories as well the music, the songs that he writes. We really, really admire him.’

Der meistgesampelte Reggae-Song aller Zeiten“ - Billboard Magazine Film / TV / Videospiel-Soundtrack: Inc. Ozark. Dexter. Belly. The Interview. Skate. Reebok und viele mehr Gesampelt von Lauryn Hill. Beyonce. Kanye West. Rihanna. Jay - Z. Groove Armada etc.
Aufgeführt in den 500 Greatest Songs Of All Time: Rolling Stone Magazine Ein letztes Mal auf einer 7"-Single und mit der entscheidenden Dub-Version des Original Stalag 17 instrumental

Limitierte Auflage in illustrierter Hülle - nicht verpassen!

Great Vacation! are just that: a momentary escape from a crazy world. Sunshine permeates every note, with good times abound when the band throws down. Both “Yellow Gold Diamond Fire” and “You Make It Look Easy” were recorded old school style with the whole band live in the studio to capture that special magic.

Artist Bio:
Great Vacation! was formed by Riley Geare in 2023. The lineup has rotated a bit but always includes Riley and guitarist Topher Mohr. Currently the group includes drummer Sheldon Reed (who appears on Yellow Gold Diamond Fire). Dedicated to an old school aesthetic, the band performs together live in the studio and has only ever done 2 takes of a song. Every track is recorded to tape for maximum stank. We thrive in the Southern California climate- lots of sunshine, classic cars, palm trees and love vibrations pervade the vibe.

A Place In My Memory Is All I Have To Claim is the new album by Australian atmospheric pop trio Hydroplane, the storied 'offshoot' formed by three quarters of independent pop group, The Cat's Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.

Recorded during 2024 in Melbourne and Ballarat, A Place In My Memory… picks up the thread Hydroplane set down with its precursor, 2001's The Sound Of Changing Places, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group's 1998 "Failed Adventure" single. There's little quite like A Place In My Memory…, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat's Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb's Robin's Reign).

There's also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton's clear singing voice, drifting along, while guitars, keyboards, drum machines and loops tickertape away. The constituent parts fit together, but they also have a curiously detached quality - think of abstract cloud formations sharing the same sky.

Hydroplane and The Cat's Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and A Place In My Memory… is thus named perfectly. I couldn't dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There's also "To the Lighthouse", not a direct reference to the Virginia Woolf book, but a great title, nonetheless. (They've always had excellent titles, often borrowed, for songs and albums.)

A beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, A Place In My Memory Is All I Have To Claim is dream work in practice; a lovely reintroduction. Welcome back, then.

Der Grammy-nominierte Schlagzeuger, Produzent, MC und Sänger KASSA OVERALL definiert die Grenzen zwischen Jazz und Hip-Hop neu. Verehrt von lebenden Ikonen und Underground-Trendsettern, begann er seine Karriere hinter dem Schlagzeug. Seine bahnbrechenden Soloprojekte haben ihn zu einer treibenden Kraft in der US-Jazzszene und darüber hinaus gemacht und ihn mit Unterstützung von Visionären wie Thom Yorke, Iggy Pop, Virgil Abloh, u.a. belohnt. Mit dem renommierten Doris Duke Artist Award 2025 hat Kassa seinen Status als führende Stimme des zeitgenössischen Jazz gefestigt.

Auf CREAM, seinem vierten Solo-Studioalbum, zollt Kassa seinen beiden Leidenschaften seiner Jugend Tribut – Hip-Hop und Jazz-Schlagzeug. Mit diesen Instrumentals verwandelt der visionäre Schlagzeuger und Produzent klassische Rap-Songs in zeitlose Standards, indem er das Kontinuum zwischen Jazz und Hip-Hop aus jedem Blickwinkel und ohne Abkürzungen erkundet und eine neue Interpretation des "Great American Songbook" bietet – eine Hommage an das reiche Erbe der afroamerikanischen Musik.

CREAM unterstreicht Kassas künstlerisches Können durch meisterhafte Arrangements, eine durchdachte Songauswahl und einen Sound, der seine Entwicklung nachzeichnet. Unterstützt von einer herausragenden Band mit generationsübergreifender Jazztradition verkörpert das Projekt seinen genreübergreifenden Ansatz und sein Engagement, den Jazz voranzutreiben.

Von Newport bis North Sea hat seine Band für ihre Live-Auftritte, die Gilles Peterson als "völlig surreal" bezeichnete, große Anerkennung erhalten. Er trat in der Tiny Desk Concert-Reihe von NPR auf und veröffentlichte mehrere von der Kritik gefeierte Mixtapes, die von der New York Times, NPR Music, The Guardian, Afropunk und anderen gelobt wurden.

Das mit einem Grammy ausgezeichnete Album "Stankonia" enthält den weltweiten Hit "Ms. Jackson" (über 1 Mrd. Streams) sowie "So Fresh So Clean" (250 Mio.+ Streams) und "B.O.B." (100 Mio.+ Streams) und taucht regelmäßig in den Listen der besten Alben auf, z.B. in der "Rolling Stones 500 Greatest Albums Of All Time". Erhältlich als schwarzes 2LP-Vinyl-Set.

Composer, singer, producer, and multi-instrumentalist Laufey continues her story by writing and recording Bewitched, her second album. Inspired by jazz greats and classical masters while possessing a point of view that could only be conveyed by a 21st-century twentysomething, Bewitched represents an expansion of Laufey’s sonic palette.

Tracks like the breezy bossa nova cut “From The Start” and the smoldering string-assisted ballad “Promise” have classic songcraft and intricate arrangements that make them feel instantly
timeless, while Laufey’s conversational lyrics give her music a relatability to the next generation of jazz, pop, and classical aficionados.

Ambarchi, Berthling and Werliin are back, a little looser and wilder than before. Their ability to lock in and focus on the smallest of details is enhanced here by a sense of increased immediacy. Great news for fans of stimulating variations of tone and mood within a potentially infinite universe of rhythm and sound! The more you listen to Ghosted III, the better your hearing becomes. Or maybe it"s just that you hear more every time you play it.

At the end of the project’s 20th anniversary celebrations, ROME tolls in the next era of the band with a fresh and visionary album: ‘The Tower’.  ROME’s new and ever more mature sound is informed by a radically minimalist folk approach, with nonetheless charmingly lush arrangements. ‘The Tower’ is an introspective and enigmatic work at whose centre stands nothing less than ROME’s raison d’etre: The Great Work and the sacrifices both necessary and essential on the demanding path to light. As an unreachable bulwark against the general decline of every value in life, the tower would have been erected long ago to defend the coast.

It would have been raised on a rocky platform resting on the sea floor. It would have been joined to the continent by a thin tongue of sand. It would have offered a heroic, magical point of view. A place for our claim to know and point out vaster horizons. It would have stood firm on the ramparts. This isolated tower would not have been just a refuge for more or less mystic escape, but also a post of resistance and combat.

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

The "TRACK TRAX EP" is the new vinyl of the "Computer Controlled Minds"
The yellow vinyl clearly indicates the direction – ACID!
As the name suggests, it will be a fast-paced race.
On the A side, our track days start with a driving track, it quickly becomes clear that this will not be a leisurely Sunday ride. It's going to be a tough race. When approaching the apex, it is always important to remain seated and open the tap slowly.
The second track is a confession of love to Kerb, he wants to be loved and touched. But this love also harbors great dangers. If you drive too hard over the limit, the Kerb will pay back mercilessly.
With B1, the DOWNSIDER brings ecstatic acid acceleration to the slopes. If the braking point is exceeded, it can fall massively to the ground. The experienced technoracer has everything under control and brings the necessary momentum to the next straight.
As the race goes on, the strength dwindles and a clean line becomes more and more difficult, but at the same time it is the key to the thrill. The struggle with body and machine becomes clear, every action makes the body burn. Giving up is out of the question, the race is only over with the chequered flag. But now off to the bar!
Last but not least on the B-side, two short bonus sounds for all mix DJs

The Computer Controlled Minds show their clear roots, ACID and hard RACE.
TCCM can be booked as a live act via insta: __NEXT_DOOR__. You will never forget the race!

2026 Repress

Due to high demand, MEU has revisited two of Mr. K’s classics, previously only available as 12-inch extended mixes, and asked the master editor to pare them down to 7-inch size.

A true top-five peak record at the Garage, Thelma Houston’s “I’m Here Again” was “a highlight whenever Larry played it,” Danny Krivit recalls, “and he played it a lot!” Danny’s edit is a homage to Larry and Frankie Knuckles – in particular a similar private edit that Frankie did back in the day and shared with Krivit. “It was on reel to reel and I didn’t copy it correctly and lost it,” Danny remembers. “Reels were problematic! When I tried to get it again from him, unfortunately he had lost it too.” The song (likely an attempt by Motown to capitalize on the previous year’s monster hit “Don’t Leave Me This Way”) is, in its original form, a virtual retake of Thelma Houston’s breakout single, from the subdued, schmaltzy intro to the “oooh BABY!” leading to the chorus. What sets “I’m Here Again” apart though, is the incredible second half of the song. Naturally, it is here that Mr. K’s edit focuses. Over a vicious groove reminiscent of the Originals’ “Down To Love Town” breakdown (Michael Sutton wrote and produced both “Love Town” and “I’m Here Again”) Houston delivers soul-stirring ad libs as the band crackles with electricity behind her, the piano chasing a descending string riff so eagerly. Pure dancefloor peak energy! And the very first time having all these parts on a 7"!

For our flip, Danny has reached deep into the earliest foundations of his voluminous collection, and come out with a psychedelic pop classic rearranged for today’s sound systems and setlists. Recorded in the Beatles’ Abbey Road studio at the height of the Summer Of Love, the Zombies’ “Time Of The Season” is firmly linked in pop culture to the late ‘60s and the Vietnam era, breaking big in the summer of 1969. Krivit’s edit highlights the parade of lush sonic textures that ornament the hip composition, from the iconic, exquisitely echoed bass-clap-exhale riff that opens the song to the cascading Hammond organ solos of Rod Argent. “It’s a song from my childhood that really struck a chord,” Danny says. “Over the years I often played a rough edit which always seemed to go over great. The song seemed to get better and better, and age like fine wine.” We agree!

These two songs have both appeared on previous (separate) MEU 12-inches, but are presented here in custom new edits for the 7-inch format.

SKYLAX RECORDS proudly unveils the final chapter in its monumental 4-part saga — SKYLAX BLACK 4: Enlightenment Theory. This visionary series, bringing together two of France’s most iconic electronic artists — ARNAUD REBOTINI and ACID WASHED — was never just a collection of records. It was a journey through the deepest layers of the underground — a conceptual project where each release was a coded message, each track a fragment of a greater whole. On the A-side, Enlightenment Theory explodes with fierce urgency — an anthem forged in the spirit of Underground Resistance, echoing the soulful intensity of early ’90s Detroit without imitation. It’s bold, emotional, and militantly underground — a future classic cloaked in defiance and elegance. On the B-side: B1. Space Is The Place channels the weightless gravity of dub techno at its purest — all echo chambers and endless delay, a direct line to the Berlin school of Basic Channel, Maurizio, and Deepchord. B2. Beyond Current Biological Constraints closes the chapter in deep space — an electro masterwork evoking Drexciya, full of aquatic melancholy and cybernetic funk. It’s not retro — it’s timeless. With this last installment, the puzzle is complete. The meaning is revealed: R.A.V.E. — four records forming one powerful word. One timeless idea. A tribute to everything this culture stands for: raw energy, emotional truth, sonic innovation, and spiritual depth. This project could only be born on SKYLAX RECORDS — a label that has always stood apart. Uncompromising. Devoted to physical formats. Fiercely loyal to the culture. While others chase trends, SKYLAX continues to chart a different course — one rooted in the sacred codes of house, techno, electro, and beyond. It is no exaggeration to say that SKYLAX is one of the last true purist strongholds of underground music — and this series, with its layered meanings and fearless artistry, is proof. From Redshifts to Blueshifts to Artificial Darwinism then Vision Quest, every chapter has pointed toward this moment. Now, with Enlightenment Theory, the full vision is revealed. RAVE is not just a word — it is the truth. A philosophy. A myth reborn. The circle is complete. The message endures. The legacy lives on.

Can’t go over it. Can’t go under it. Gotta go through it. And somewhere out there in the Pitch black beyond all darkness lies Peace & Purpose. The horizon you never quite crest until the inevitable end. Breathe deep — this fearful moment is the most alive you’re ever gonna feel. For the last decade, Crack Cloud’s vision has grown ever more expansive, more cinematic. Last go around, they dropped from The Heavens and then performed with their bare backs to an endless darkening desert. Now they’ve crammed all that life into some metallic and strange object called Peace & Purpose. All the terror of living. All the helplessness. All the raw human will. All glued and screwed and locked into this impossible tactile shape of dungeon dub; sour milk vox; Avant-protest music. Music arm wrestling itself to the ground. Far afield of beauty. The discordant symphony of factory farming and grim timber of the meat processing plant. The grinding din of the cogs. And yet, never giving up in spite of all good sense. Even in death, we are a coterie of survivors. Look now: There’s Terry Fox on his one-legged Marathon of Hope across The Great White North while cancer spreads through his lungs. A self-annihilating drive to feel alive. Rage against the dying of the light, they say. Well, how ‘bout it then!??! Peace & Purpose is not in any way some art project meditation on Punk Rock. It is Punk Rock. Terrifying, inspiring, vital, invigorating and most importantly, utterly unexpected. Every goddamn stupid day is a sublime slice of fresh hell. That’s the point. Gotta go through it. Wishing you Peace & Purpose — if only in that last big breath.

Compounding a reputation for his unique vision on techno with an uncompromising underground ethos utilising a fusion of deep and energetic electronics, Lee’s sound always creates a myriad of tension and construction which has seen him become one of techno’s elite, appearing in the most prestigious underground venues across the planet. His consistently original and dynamic productions, which have earned him much international ecognition, are frequent and in great demand. Appearing on many impeccable cutting edge and classic imprints over the years, Lee’s music has generated relentless plays and support from the brightest and leading connoisseurs in the underground techno scene.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got an electronic guardian of such resolute astral belief in how the purest of dance music should be relayed to the occupants of any Celestial City. You will believe in RIOT when we say “The ‘Sentinel’ has awoken.”

Featuring eight tear drops out of the smoke fuelled rain from a distant belt in the galaxy, no ‘Moonrunner’ will be able to surf the ‘Gravitational Waves’ this Motor-City inspired journey takes you on. Book yourself passage on the Starliner ‘Off-World’ for a stargazing extravaganza into ‘The Gates Of Orion’ and witness the brightest of glimmers ........... in the dark.

The full digital release also features one bonus spellbinding track so your mind can melt into the depths of
space and time.

WARNING: YOU WILL OBEY IN ORDER THAT RIOT CAN TAKE YOU ONE STEP BEYOND …………….

Credits:

Written by Lee Holman
Mastered by Joe Farr
Artwork by Alan D. Oldham & Nomad

2026 Repress

Mr. G, aka Colin McBean, presents a remastered, 23-track compilation entitled 'OG Retrospective'

'The day I found my original studio masters and got my rights back was the starting point, and then I realised it's 25 years on and it's time to recode, remaster and reevaluate because I've never looked back properly. I've always been like a bat out of hell, never quite thinking I'm good enough or great at what I do, but it's important to celebrate, because there's nota lot of people still here, still doing it after this length of time'.

With new masters provided by Simon at the renowned London mastering house The Exchange London, a direct link to the original mastering done by the late-Nilz (Nilesh Patel) from The Exchange, Mr. G's 'OG Retrospective' marks a reflective period in McBean's life.

'All I've ever done is write and move forward, but more and more, I get the new generation sending me videos of my old tracks and sometimes I don't even recognise them, so finally I thought, 'ok, you're comfortable in your own skin, let's really see how you sounded at the beginning, how you've changed, how have the techniques changed'?

It was quite raw going back over these; some of the memories are riddled with pain and angst - friends dying, where I was in my life at the time, having a heart attack and so on. Having a sound, too, can be a cross to bear. You're only ever competing with yourself, your only game is being better than your last game, so if you dwell on the past too much you can't move forward. Getting to the point where I can look back and feel happy, feels good.

Invariably, what will come from this is 'more', because, with my own label I have endless possibilities and will continue telling my story.'

2026 Repress

KiNK & Raredub inaugurate new sub-label Spectra on SHDW's Mutual Rytm, backed by remixes from icon Marcel Dettmann.

Spectra is a new sub-label from contemporary techno powerhouse Mutual Rytm, with the project set to showcase memorable singles alongside feature innovative remixers. The name Spectra reflects the wide range of vibes the label will deal with and the diversity of sounds that emerge through these creative reinterpretations.

Needing little introduction, Bulgaria's KiNK is a synth wizard and live specialist who gets more out of machines than anyone else on Earth. He has dropped endless standout tunes ranging from Running Back to Hypercolour and, more recently, Mutual Rytm with his 'Quantum Shake' EP earlier this year. For this latest outing, he works with fellow Bulgarian talent Raredub, known for his own high-octane, distinctive and dynamic sound that has gained supporters From FJAAK to Paul Woolford.

The original 'Time to Change' has already generated buzz and has been a favourite of DJs from across the electronic realm, bringing a forceful and slamming cut with plenty of machine funk. A buzzy lead synth roams through the mix to bring great menace, while garage-like percussive loops keep things moving over a monstrous bassline.

One of techno's most influential DJs and producers, long-time Berghain resident Marcel Dettmann joins the release to offer his unique touch as the first remixer on the project. His 'Reconstruction' brings subtle nuances as he slows the beats to a more dubbed-out house vibe and layers in bright synths and swirling vocal loops that will get hands in the air. His 'Universal Raw Mix' closes the package in style, delivering a stripped-back roller with freaky vocals and eerie synth details.

This is the very limited marbled vinyl version of the repressed Lords of The Null Lines EP.

Here we have the beautifully remastered Foul Play and Foul Play ft Randall remixes of Lords Of The Null Lines. There is little to say about these definitive classics that has not already been said. You know ‘em, you love ‘em, they are essentials. However, the Danny Styles remixes are perhaps deserving of some explanation. There were created in the early 90s, and were cut, but quickly stopped by Moving Shadow as they were not really official remixes. A few test presses got out, and the result has been these remixes reaching a near mystical status in the passing decades, and the vinyl changing hands on discogs for absurd prices.
So it was with great pleasure that Hyper-On Experience and myself managed to broker a deal with Moving Shadow and Danny Styles to bring these amazing remixes to a legal and official release! It took over 25 years, but they can finally be bought...

2025 Repress

Label boss Demuir steps up for the 8th 12" from Purveyor Underground Limited and uses the opportunity to dedicate the music to his mother. This Grooves From Mama's Kitchen EP has already picked up some notable plays from the likes of Jimpster, Masters At Work and Kerri Chandler and is a swinging house offering with great depth and musicality. 'Beat 6 (Luv Is Complicated)' is majestic and soulful house with diva vocals and brilliant melodies, while the dub is more paired back. 'In Awe Of You' brings the jazz with its bright lead synths and soulful grooves, while closer 'In Awe Of You Ma' (Gabriel's Strings) is more loose-limbed and playful with some fine horns. .

By the time Jackie Mittoo released this outstanding album (his 4th), he had already gained a big reputation in the early days of Reggae, Ska and Rocksteady for his contributions to the Studio One catalog and his work with the Skatalites. With his beloved Hammond organ, endless talent and a bag on influences that included Jamaican sounds, Soul and Funk, Mittoo created a cool, moving, warm and groovy sound that would explode in his amazing dance songs and has gained cult status among followers of Jamaican Music, Soul and Funk lovers. A great collection of reggae-soul instrumentals by one of the most talented figures of the genre.

Collecting orders for Repress

"Upon at attempt to repair a broken DAT machine that was in storage for over 20 years, to Maaco's surprise there was a DAT tape still lodged inside! So what would one do? Of course pop that bad boy in a working machine and see what's on it! Enlightened by tracks that he hadn't heard in over 20-25 years, he's excited to share these once forgotten tracks with the world! It's with great pleasure for M.A.P. to introduce to you, the throwback tracks from the vault!!!"

Originally from Sicily but living in Basel, electronic composer Marco Papiro confirms his eccentric and multifaceted personality. The sound articulation of his analog synthesizers flows into in an artificial hyperrealism of great thematic and expressive variation. The tracks unfold between ascending cosmic moments, more ecstatic meditative tones, symphonic planetary floods, exotic afrodelic and psycho-andean drifts. Papiro synthesises and converts echoes of acoustic wind instruments (oboe, recorders, bamboo flute), while the percussion lives on its own pulsating reality. The influence of certain folk traditions, as well as contemporary music, also suggests the more acoustic flavor of an ethereal minimalism (for voice and psaltery), making his music a continuous open sea of visions. Cover painting by Anton Bruhin printed on two different colored papers. Co-released with Les Giants.

With great pleasure we welcome on board ADSR. This is not a standard EP but more a collection of 5 tracks made in the years between 1989 and 2001.

“Kicked” (1989) rides a driving dance groove with subtle Depeche Mode–influenced melodies, fueled by rolling arps and crisp string plucks. “Unit 3” (2001) hits with tough basslines and hard pads over a relentless beat, nodding to mid-80s EBM in the vein of Nitzer Ebb, Skinny Puppy, and Front 242. “Unchained” (1990) drifts on a late-night 808 groove with glassy pads and house-leaning chord stabs, sliding into early techno territory.

The EP closes with two well known tracks but those versions of them have never seen the light before today. “Windswept (Desert Mix)” – 1994 is a pounding early-session track built on tripped-out SH-101 leads, evolving arpeggios, long sweeps, and a steady 909, made for getting completely lost in.“Suboceana (Early Version)” – 1991 serves seductive chord progressions and drawn-out, reflective melodies, a liquid journey for both listening and the dancefloor.

Recut & Represed!

As always Kling Klong gives space for new artists and supports upcoming talents. This time Martin Eyerer & Rainer Weichhold had no doubts signing this debut release from Stuttgart's dj/producer Ninetoes as 'Finder' is obviously a massive stand-out track which has the words 'summer hit' written all over it. So it was just easy to convince Leon and Re-UP from Italy to do the remixes and help to make this release even more oustanding.

Support from:

Matthias Tanzmann, Loco Dice, Adam Beyer, Nick Curly, Butch, Riva Starr, Popof, Kaiserdisco

DJ Feedbacks:
Adam Beyer: like the leon mix!
Loco Dice: Will try. Please send me the WAV. Thanks
Nick Curly: schöner release....leon remix gefällt mir am besten, danke!
Matthias Tanzmann: woher kenne ich denn die Melodie Coole Tracks auf jeden Fall.
Davide Squillace: Nice one..
Monika Kruse: der leon remix rockt.
Tiefschwarz (Ali): nice nice :) re-up rmx is my favorite.
Butch: leon rocks
Riva Starr: leon rmx for me thx
Claptone: supersonniger tune das original
Ramon Tapia: Leon mix is cewl !
Gregor Tresher: Leon mix sounds cool.
Chus: Leon and Re-Up mixes for me.
Popof: Great remix from re up ! love it
Kaiserdisco: Original mix is nice, will try it out.
Wally Lopez: Leon remix are huge!! Support
Shinedoe: I'll try it out.

The Vessel Recordings Group label is headed up by Ira James who has shown he has great taste when it comes to tapping into global house sounds. This new EP is another standout with Toronto talent Demuir behind the beats. He brings his signature mix of influxes to this one starting with 'Conversing With Angels' which has disco-tinged loops and soulful, feel-good vibes that liven up any party. 'Everynight' has a deep cut and funky groove that is made all the more arresting and emotive with the vocals and smart synth filters, while 'Mizz Hunni' comes as a hefty tech stomper and also as a dub.

From Harmony: I've wanted to do a collab EP with Kenny (Kid Lib) for sometime, as he's a great producer and friend. Kenny and I wrote "Dressback" together a few years ago, but never finished anymore colabs. Recently, I found it while going through my hard drive, and we both decided it still needed to be released. So each of us wrote an additional track to finish off the EP, giving you a bit of our separate styles alongside our collab.

The latest and greatest producer in a proud British tradition that good music need not take itself seriously. Outlandish samples, meet dissonant vibraphones in a combination that has been described as “lovely stuff”

Wally Badarou is a synth pioneer and musical polymath. But rarely does he sing over his sumptuous tracks. The 6 songs that comprise new record Simple Things finally realise Wally's vision for select backing tracks from his beloved Colors Of Silence.

The tracks were originally developed back in 2001 for the release of the original CD; here, Wally has “simply" added overdubs and vocals to their mastered mixes with some discerning edits. Simply put, Simple Things is another slice of simply stunning Wally Badarou genius.

Simple Things has been decades in the making. Indeed, Wally struggled not only with the idea of singing these wonderful songs himself but singing them in English and writing his own lyrics, while wrestling with the sensational backing tracks, which themselves seemed to have taken on a life of their own.

As Wally explained to us: "In addition to the instrumental artist I have been known as, so far, there has always been a singer who simply was not sure he was, up until now. Even though “Back To Scales Tonight”, my very first album, was, indeed, a song album."

Opener "It Couldn't Be You" embellishes the uptempo groove of soca-funk gem "The Lights Of Kinshasa". As Wally explained to us, it's about “a simple love story somewhere, one rainy night, under the lights of Kinshasa. A woman, a man, online dating, quite usual in our times. Then they meet, almost missing each other." The guide vocal Wally had laid for Colors Of Silence - with an organ sound - seemed striving for words in Linguala, a Congolese language he could not speak. Therefore the decision to do it himself was not an easy one, for it had to be in English to fit his singing. We think it turned out pretty good!

"You Can't Hide Always" vocalises Wally's deep concerns set to the propulsive "Smiles By The Millions": "Populism, ostracism, radicalism, ethics and values all turned upside down worldwide, are they all inevitably exacerbated by our social networks? It could all melt down one day, like a house of cards in the ocean of fake news and false prophecies”. Wally wanted to keep the track as bare as possible but, inevitably, the backing vocals and the synth-brass arrive ultimately to present a welcome 70s flavour, with no snare-drum added.

The bright and breezy "We'll Make It Again" adds vocals to "Where Were We", a tropical, reggae-tinged bounce through the islands. Here's Waly: "Where were we when we last said: "I love you"? Simple words to express something quite common, but never quite simple to deal with. A simple song about the resilience of the broken hearts.” The reggae came from it being conceived when Wally was scoring for “Third World Cop”, a 1999 Jamaican action movie.

"Walk Straight Ahead" provides Wally's gorgeous, contemplative and idiosyncratic vocals to the deep serenity of Colors Of Silence highlight, "Amber Whispers". It's a gliding, divine, mini melodic masterpiece. It'll make you swoon in its extreme beauty. As Wally describes, "it started as just whispers, sweet amber whispers. Then the colour turned darker, as darker skies seemed to fall upon us while the whole world keeps on walking ahead, straight ahead, regardless of the blatant warnings, feeling much too comfortable in conformity. Initially, the verses were to be spoken only. I realised they could be sung all the while, without overshadowing the ethereal atmosphere." Amen.

The serene, celestial "Painting My Life Blue" presents the vocal version of "Days To Wonder". Says Wally, "how does it feel when your second half is gone after decades of riding life together? Past the temporary loss of your bearings, you come to realise you've been blind to the essential, and suddenly you can see...For this most intimate song of mine, I had tried to come up with a melody on top of the existing backing track, long before realising the melody was in the keyboard part already. It just needed to be properly mixed with it."

The profoundly emotional "Just Two Lovers" works up the formerly-too-brief and glorious "Crystal Falls" into a much fuller masterpiece and features acoustic guitar sparkle before fully glistening with some gentle head-nod percussion. Waly explains further: "Dear little green men, please tell me, what is it about us that makes you want to come and visit us so often (contrary to Fermi's assertion)? And here is the reply I believe I heard them sing: "You've got the key you've been searching for: Love”. I reverted to the initial backing track I had made around 1985, which already bore the melody, and which I added acoustic guitars to, before singing it." An astounding closer.

A synth specialist, there can be few artists more under-appreciated given their vast influence than Wally Badarou. His solo work practically defined the sound of the Balearic DJs of the 1980s, and thus the more sophisticated sound of dance culture thereafter. He was one of the Compass Point All Stars (with Sly and Robbie, Barry Reynolds, Mikey Chung and Uziah "Sticky" Thompson), the in-house recording team of Compass Point Studios responsible for a series of albums in the 1980s recorded by Grace Jones, Tom Tom Club, Mick Jagger, Black Uhuru, Gwen Guthrie, Jimmy Cliff and Gregory Isaacs. Badarou's keyboard playing could also be heard on albums by Robert Palmer, Marianne Faithfull, Herbie Hancock, M (Pop Muzik), Talking Heads, Manu Dibango and Miriam Makeba. He also produced Fela Kuti. Phew!

When we asked Wally about the significance of this collection's title, he explained: "These are "Simple things” that everyday’s life seems to build upon. The simplest are the harder to describe, but when satisfactorily described i.e. with simple words, they are the more genuine and authentic to express and share. I’ve immersed myself in other classic song lyrics, something I hardly did before, just to appreciate the genius behind the simple words they were made of, and had a great time studying how powerful they were in expressing complex ideas such as love."

Recording was twofold: first, most of the backing tracks were recorded in 2001, in Wally's studio in Normandy, mostly using hardware synths and Yamaha digital consoles. Then, he fine-tuned the melodies and wrote the lyrics in late 2023, then added some overdubs and sang them all during summer 2024. States Wally, "Digital Performer was and remains the DAW I’ve been using throughout, ever since the 80s."

Wally's sophisticated synth textures and expressive keyboard runs are so full of character, so full of life, that this work of art transcends any easy genre categorisation. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. Sometimes, the simple things are the most extraordinary.