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¿DONDEDOS is young dude/unc duo hailing from the Mission. Pascual Martinez (young dude) and BPT head honcho Jeremy Castillo (unc) have spent the last few years in the stu, cooking up this deep fried, groovin' 4 tracker. Fans of 2011-16 LIES and Future Times releases, “Biology" era Young Marco, Juju and Jordash, and the Wah Wah Wino crew are in for a treat.

In an era where literally every aspect of dance music is overly programmed and manicured, ¿DONDEDOS take a massively refreshing approach marked by true experimentation. All drums were recorded on the Roland R8, and the melodies were live played with a loose, jammy feel not felt on many electronic 12" releases in 2026. They're a jam band baby!!!!!

The fun starts with "Drifting Nowhere," a fried oddball deep house record with one of the year's most infectious basslines. Be ready for it to be on a loop in your brain long after the track has stopped playing.

2nd track "Dies Varos" was described by BPT fam Izaak from Loveshadow as sounding like "part of the Mediterranean touching Mexico." Ahhhhhhhhhhhhhhhhhhhhhh. (that was a deep relaxed sigh, not a scream for once!!!)

"Music for Patios" sounded pretty good on a walk and not on a patio so, just FYI, only a suggestion not a requirement.

Ender Noche Caminando features Diego Herrera (AKA Suzanne Kraft) on sax. In Jeremy's own words, this track features "oddball dancehall drums on the R8 with 80s synth pop dub melodic sensibilities."

Never Sleep charity tape series ends up in Thornton Heath, London for the grimiest of bedroom work outs.

Early Fruity Loops philosopher Plasticman aka Plastician teams up with fellow trailblazers DJ Suicide & N Double A crew for a prompt internet radio set of prototype Grime. Rugged, raw and filled with the occasional KAOS Pad trigger / gunfinger FX; the devilish miscreants bring the lyrical vehemence.

Broadcasting from his parents place and utilising early productions Plasticman keeps the fibre optical momentum burning with early production, laser precision polyphonic instrumentals and quantified eski.

N Double A crew have so many quotables but its a "pass the mic" affair as limited equipment fort his bedroom bedlam. L Man spits certified gold on demand whilst Narstie echoes his signature cadence, Typah goes in hard with the colder than waiting in a queue outside Plastic People flow and Uzi destroys the stream with typical flair.

A landmark moment in innovation, internet radio was a key player in the growth of Grime and Dubstep. Helping build profile, connections and galvanize the online community.

RB013 marks Rhythm Buro's 13th release, arriving in the form of a Various Artists compilation titled 'All Things Broken'. Much like its predecessor 'There Will Be Light' - the label's ambient compilation - this project was built around a single unifying idea: bringing together a diverse set of tracks centred on deep breakbeat sounds, for lack of a better term. With that vision in mind, curator Igor Glushko reached out to a dozen like-minded artists - Ukrainian and international, long-time collaborators and fresh faces alike. A year and a half later, 'All Things Broken' is finally here.

Contributing artists (in alphabetical order): Alex Albrecht, Forest On Stasys, Haze, Hidden Element, HVL, Ina Kacz, Na Nich, Orion, Radiant Futur, SI Process, The Sailing Oysterman (aka Shjva and Ilya Semashkevich), Volodymyr Gnatenko.

The compilation comes as a 2xLP and includes an insert poster featuring 'Flame and Water', a drawing by Ukrainian artist Oleksandr Kryzhanovskyi that serves as the centrepiece of the release's artwork. Oleksandr also contributed additional works from the same series, which appear on the labels of both records.

Forbidden Teachings is honoured to welcome back Italian artist Nigh/T\mare for the release of his first full-length album on the label. Across ten carefully crafted pieces, “Through” channels the artist’s singular sound, one that resonates through the bones and awakens what lies dormant within. Through pain and despair, through love and hope, the album becomes a passage through impermanence itself, revealing the fragile veil that both binds and defines us. Can the soul ever truly break free, or are we destined to remain shaped by these shifting forces? “Through”offers no answers, only a mirror for those willing to look.

Pure house vibes straight outta the warehouse. Six track journey mixed by legends Lello Di Franco and Brian Garrett, with a fire Fred P interpretation that flips "2720 Street" into something next level. From deep underground heat to pure dancefloor gold Ð this one's got everything. House Express, The Warehouse, and the title track taking you back to where it all started. That's the blueprint, fam.

Return to Sky is the follow-up to the band's classic Euporie Tide, which consolidated the band as a crucial underground force in the European psych scene and spread their unique brand of warm-toned stoner rock to a wider audience. The album is a condensed piece of acutely experimental, yet immensely engaging, instrumental rock. Each of the album’s five epics unfolds as a microcosm of the band’s genre-transcending psychedelia at large, yet adds something different to the whole.
The tracks on Return To Sky travel far and wide: heavy, detuned riffs are transformed into wide, pastoral soundscapes, and fluid minimalism warped into swirling crescendos and back again. Occasionally the band even manages to sound turbulent, fuzzed-out yet strangely peaceful at the very same time. Whereas so much of today’s psychedelic scene comes off as merely a tribute to a certain period of the past, Causa Sui has always been on a different mission. More than any other record in their catalog Return To Sky declares their roots in the avant rock of the late 1990s - where different eras and genres merged into something that resonated as much with the present as it celebrated the past. It also reveals the fact that members of the band has had their hands in many different projects since the band’s debut album in 2005: solo excursions into synthesizer music, collaborations with members of Sunburned Hand Of The Man and Tortoise as well as film soundtracks and improv sessions with krautrock legends Faust and Damo Suzuki. It has all worked a subtle influence on the kind of band they have become. On Return To Sky their sound is more earthy and heavy than other Causa Sui record, but it’s also a record that has absorbed everything from shoegaze and vintage Italian film music to spiritual jazz and afrobeat into its fabric. Causa Sui has never sounded deeper or more mesmerizing than on this set.

Last year Ace Records were delighted to reissue The Brides of Funkenstein’s debut LP from 1978, “Funk Or Walk”. Featuring their hit single ‘Disco To Go’, this album put the Brides on the map and sold strongly.

Before sessions commenced for a second album, Lynn Mabry left the group before sessions commenced for a second album, leaving Dawn Silva alone at the altar. George Clinton added P-Funk backing singers Jeanette McGruder and Sheila Horne to the mix, creating a three-pronged vocal attack.
Sessions featured the cream of the P-Funk players including keyboard wizard Bernie Worrell, bassist Bootsy Collins and guitarist Garry Shider. The resulting album, released in 1979, was even better that their debut.

The title track ran for over 15 minutes on side one, showcasing the vocal and musical prowess of all concerned. Other tracks included ’Party Up In Here’, ‘Smoke Signals’, ‘Mother May I?’ and the gorgeous ballad ‘Didn’t Mean To Fall In Love’.
Although it did not spawn a hit single, “Never Buy Texas From A Cowboy” sold as strongly as “Funk Or Walk” and over time has been hailed as a classic P-Funk album.
With liner notes from Ace’s Ian Shirley, we are delighted to release it on orange vinyl and CD. You don’t need your mother’s permission to buy it either.

Repress!

Bikini Kill Records is excited to reissue of The Singles, on both vinyl and compact disc. This is the first time that it has been released as a 12-inch (special note for all you vinyl fanatics, we managed to keep it at 45rpm for better sound quality)! The Singles was initially released in 1998 as a CD only compilation of all of BIKINI KILL's 7's. Once called "their defining document" by Pitchfork it includes Bikini Kill's legendary collaboration with JOAN JETT on the New Radio (1993) single as well as the long out of print Anti Pleasure Dissertation (1995) and I Like Fucking (1995) singles.

Intergalactic lazurite alien roses

It's time to get back to real Electrofunk, Breakbeat and Hip-Hop.
This vinyl bridges the gap between old school and modern sound design, delivering the rawest Funk Architecture.
Two decades of music production by DJ 33 condensed into one monumental 12-inch record.
Eight essential bangers, released as a strictly limited edition of pure, analog-driven vintage sonic art. Here we go.

Funk Architecture is a division of MixCult Records

2026 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

Applying the solid structures of floor-focused Berlin techno to the expressive space of introspective electronica, Answer Code Request returns to Delsin with his first album in eight years. Halo finds Patrick Gr?ser broadening his sound palette more than ever before, matching atmospheric synthesis with dynamic beat constructions true to his impressive legacy while breaking new ground. Across Halo, smoky clouds of pads and chords lend the album an introspective quality in the grand tradition of ambient techno. In front of these haunting melodic forms, Gr?ser is free to explore all manner of rhythmic directions. There are fractured, downtempo micro beats and angular fractals on the likes of 'Fading Shadows' and 'Refraction' that take their cues from breakbeat -- finely detailed drum sequences constantly evolving into new arrangements. A pointed nod to D&B rears its head on the aptly named, hard-edged 'Fracture' and you might hear a firmly submerged hint of ravey acid coursing under 'Sublith'. Elsewhere, the firmer kick-anchored pulse of the classic Answer Code Request sound manifests for more forthright techno excursions such as 'Halo' and 'Bliphar'. In the context of the album, though, these tougher tropes are channeled into mesmerising soundscapes that soften the attack without diminishing the potential for club impact. In this era of his craft, Gr?ser moves instinctively through the sounds and approaches that inspire him, and the end result is an album that feels natural and open, all the while steadily progressing the ongoing evolution of Answer Code Request.

KOIZUMIX PRODUCTION, a collaborative project between Kyoko Koizumi who worked under a different name in the 1990s and club culture artists and creators,
is finally being released in analog format. These two works, now difficult to obtain, are making their long awaited debut on vinyl.

The release is a complete analog version of the 1998 CD, which could be considered a KOIZUMIX PRODUCTION remix best-of.
It includes all tracks from the original CD, plus additional remixes that were previously available only on vinyl, compiled into a 2-disc set titled “89–99 COLLECTION”.

Julian Sanza clearly knows the difference between an edit and a rewrite, and both cuts here lean toward respectful expansion rather than reinvention. The A-side takes that unmistakable 80s pop groove and stretches it into genuine nu disco and house territory while allowing subtle dub and London-inflected touches from the original to still bubble up, and in the process also gives DJs a nice extended tool to work with. The flip does similar work on an 80s Argentine classic, deepening the rhythm and adding modern electronic polish without losing the emotional heat. Two well-judged edits.

Secret Society is catnip for all the cool cat minimal and tech heads scattered across the global underground and here they mark their first decade in the game with a whopping great big triple album V/A comp that celebrates in style. The label works with exciting talents both old and new, and their 20th outing is the first in a new series, Discipline of Time, featuring six sides of beats. Delphie warps space and time with a lithe, bendy, liquid minimal dub tech twister; Marceline taps into airy, dubby space tech on 'Sale Jugando' and Rh Cher's 'Gwen' (Edward Desert version) is a weird late-night ritual with paranoid voices belting in from the edges. Rhadoo closes with a classic Villalobos-era minimal gem that is wonderfully sparse but for warped lines and abstract FX. "Time is one of our most valuable resources, and how we choose to spend it shapes what we create and who we become" says the label. You could do far worse than spending your time listening and/or dancing to this.

Rafa Santos continues the Mate label's fine tradition of quality deep house excursions with a well-formed new 12". Just one original features and it's the A-side beauty 'Our Journey', an unhurried groove that is happy to wallow in soft piano chords, with icy hi-hats strewn through the mix and the main focus left on a sax line that rises and falls, sings and cries, all while a nagging vocal loop adds extra pain. Atlanta house hero Kai Alce drops an NDATL remix that brings more bump to the drums but keeps the emotional edge of the original. Class.

Innate launched out of Bristol in 2018 as an extension of a well-respected blog run by Owain K, and is now one of the more cultured outlets in the realm of advanced techno. This ninth 12" heads across the Irish Sea for a split EP featuring top heads Eddie Reynolds aka TR One and Americhord. The former goes first with the snappy drums and reverberating bass twangs of 'We Lost An Hour' before 'I'm Alone' zones out into more widescreen and far-sighted deep techno laced with malleable acid lines. Americhord then keeps it deep with the interplanetary 'Parallax', a supple, comforting cocoon of synth and bass warmth before flipping into kicking electro territory on 'Sub Level'. Proper classy tackle.

A decade into life, Secret Society marks this notable milestone year with a release that stays true to its ethos of depth and groove. Ewan Jansen started producing in the early 90s in Perth, often with the same hardware he used in his live shows. He's back on the label with two driving cuts built squarely for the dancefloor: 'Hydroid' is bright mid-tempo techno with pixelated synth charm, and 'Bodywash' is a deeper, more syrupy sound for late-night cruising. Alongside them sits a more introspective collaboration with Italian producer Luca that trades peak-time punch for texture and restraint. On remix duties, John Dimas adds his trademark crisp momentum and understated flair, a fitting choice given his long-standing connection to the camp.

Slope114 are Dmitri SFC & Elise Gargalikis, a duo that makes their house music live from home in San Francisco. That lends it a rare musicality and melodic lushness that sit their work right up there with deep house forefathers. This outing starts with the slouchy goodness and endearing bass of 'Dystopian Blues', complete with aloof vocals that exude cool. The dub is even more pillow and smooth than the Mark Ambrose mix that brings a little more roughness to the drums but still locks into a hypnotic vibe. 'Emu 2' is a gentle rhythm with dusty pads and candle-lit chords for when slow-burn subtlety is prized over immediacy. Classy stuff.

The world of UKG is as fruitful as ever right now and someone who continues to make fresh moves in it is IsGwan, a Melbourne/Naarm-based artist adding his own twist to the classic template. London label Bad Parrot welcomes him for a series of bouncy and bright originals as well as some on-point remixes. 'Next To Me' has low-key groove that skates and scuffs along with a classic r&b vocal from Amber Ferraro, adding the sunshine. There's a slow, more bass-driven heft to 'All That You Want', 'On Your Mind' is sun-baked and blissed out and 'Feel Free' brings more adventurous synth work to a busier framework. Of the remixes, Harvey Sutherland brings his usual sun-facing synth sounds and Rich Ellis makes 'Feel Free' into a more dark and gritty low-end workout.

Single-Sided 12 inch with etched B Side, cut and remastered from the original tapes and housed in a new foil sleeve printed on 300gsm card with gold Stardust is Thomas Bangalter, Alan Braxe and vocalist Benjamin Diamond. Twenty one years since its original release in 1998, their iconic track "Music Sounds Better With You" is now available again on vinyl and digitally for the first time.

Anyone lucky enough to have lived through the 90s will know that Coco Steel & Lovebomb were a key acid house duo who dropped early tunes on Warp and penned a number of underground anthems including 'Feel It'. Now they are back with new tunes on Coco's Disappear label and the remit, stylise, is wide. This EP opens with gentle breaks and dubby undercurrents on 'El Acido,' which has already become a favourite after its digital release. DJ Rocca remixes with a blissed-out energy and 'Our Thing' (named after Coco's new party in Hastings) then taps into a more expressive sound world with new age pads, affirmation vocals and dusty broken beats plus lashings of bass. A dub version of the same tune, named Dub Thing, closes down with aplomb.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

Snoop Dogg’s 22nd album is a tight, 35-minute project that blends his classic G-Funk style with a more futuristic sound.

Featuring production from Pharrell Williams, Swizz Beatz, and Erick Sermon, it moves between high-energy tracks like

“Step” and smoother moments like “QTSAMYAH” with October London. The album presents a polished, cinematic look at Snoop’s evolution,

reinforced by an accompanying short film, showing his style and influence remain strong in 2026.

What's the point of the howl of string to speaker, the hammering of stick-on skin? Is it transcendence, elevating the human spirit by catharsis in sound? Or is it summoning chaos, a purgatory in which to bask in all that’s unclean, the better to feel alive?
Why not both? Because that’s what’s on offer on Diet Of Worms, the second Rocket release by The Shits, Leeds via Newcastle’s titans of disgust and deliverance. This is a feast for the senses in the worst way possible - primal rock boiled down to its essence and flung full in your face. Using repetition, tortured vocal invective and heads-down intensity as blunt instruments, these eight tracks are an unprecedented torrent of acidic salvation. Whilst lurking somewhere on the decadence-destruction axis between the nihilism of prime Stooges and the bloody blackout of Braimbombs, Diet Of Worms is possessed of a legitimately uncompromising hostility that both elevates and debases it to co-ordinates unknown.
There are revelations here in the riffage and the rancour, even if they are the kind that occur in the bleary miasma of the lock-in, or witnessing the streetlight blur of the subsequent stagger home. Even more single-minded and remorseless than the band’s Rocket debut ‘You’re A Mess’, this is a record that demands full immersion. Whether it’s ‘Then You’re Dead’ hammering on a pulverising garage-stinking riff until it begs for mercy, or ‘Change My Ways’, whose Creedence-In-Hell swagger and lurch is that of abjection transmuted into joy, this is psychedelia forcibly removed from its comfort zone of pastiche, and thrust into a bad-trip realm of the vivid and nightmarish.
But rarely has the process of making beauty and horror indivisible seemed like so much fun. If Werner Herzog was right, and the only harmony in the universe is that of overwhelming and collective murder, then The Shits are the true music of the spheres.

Double vinyl reissue of Skullflower’s epochal “IIRD GATEKEEPER” album - the first time that this album has been available on vinyl for 30 years. In addition to the original LP this definitive and expanded edition includes extra and unreleased tracks taken from the recording sessions. For the first time all the tracks recorded by the band during this period can be heard together giving fans unprecedented access to material previously only available in the bands’ archives. Recorded in London in 1991 and released in 1992 on Justin “Godflesh” Broadrick’s HeadDirt label in 1992, IIRD GATEKEEPER established a worldwide reputation and following for Skullflower and convinced many who heard it that they had encountered nothing less than the best band on the planet. Arriving at the height of the “grunge” and the expansion of underground guitar “rock” into corporate America, IIRD GATEKEEPER had its roots deep in the UK noise and power-electronics scene. Guitarist Matthew Bower and bassist Anthony Di Franco were both graduates of the Broken Flag school of British noise making with their respective projects PURE, TOTAL and JFK. IIRD GATEKEEPER was Skullflower’s third album and was the first of the band’s albums to feature a consistent line-up throughout its production: Matthew Bower (guitar), Anthony Di Franco on (bass) and Stuart Dennison (drums). Recorded and mixed in four sessions between January and June 1991the tracks on this edition of IIRD GATEKEEPER shows the band’s new line up developing their sound, warping and evolving in real time. As such this edition of IIRD GATEKEEPER provides a unique document of the band in a state of transition, with the chemistry of the individual playing combusting in the studio to create a wave of astonishing creativity. IIRD GATEKEEPER is perhaps the definitive British underground rock album of the 1990’s – unique and never equalled. With this new edition Dirter Promotions allows Skullflower fans old and new to listen to this classic album as it was intended: spark up, crank it up and prepare to have your ears and mind blown

“As always the darkest moments of human existence
have a shadow of sheer light

But it’s never to be found while sitting still

even when we want to

It’s to be found in scraping ourselves up and doing . . .

Not overthinking about

Just doing

Just making a permanent mark

Leaving a permanent reminder

for our future selves to revisit and learn from when the times right

If that’s ever comes

So many milestones . . . ?”

Odlazak – the third full-length from multidisciplinary artist and musician Ivan Masic as Ex Ponto – takes its name from the Serbian word for departure. It’s a theme that reverberates throughout the release as the motifs of departure, arrival and the journey between the two are woven into an intimate personal narrative from 1980s Yugoslavia to contemporary suburban Coburg and back. Odzalak feels like a bookend to a decade of concerted, illuminating visits to the place of his birth and a countenance to the departure that long defined his youth.

Alongside Ex Ponto’s signature mix of electronic and organic textures, Masic has interspersed moments of exchange from his homeland. The haunting sound of the gusle — a traditional Serbian instrument played by his ancestors — opens the album, alongside 40-year-old VHS recordings of family members reflecting on life and death. The cover was designed by long-time friend Rick Milovanovic (TRiC), whilst photographs from Masic’s visits to Serbia and Bosnia-Herzegovina by his wife, photographer Sarah Pannell, are featured on the inner sleeve. The release was mastered and partially mixed by Belgrade-based Goran Simonoski (La Plant), a collaboration rooted in shared lineage and a mutual love of the darker edges of the sonic spectrum.

Taking cues from ambient to kosmiche, dub to post punk and everything in between, this is a sonic journey as much as it’s a personal one. Part Balkan Bladerunner soundtrack, part Vini Reilly in wonderland, Odzalak is Ex Ponto’s most pointed and heady release to date, equally at ease in the club and at home.

Chris Scott, Stuart Baker and Julian Bowron ran their own night in Bishop Auchland, a small town in County Durham, back in the mid-90s, then started producing under the same name. They dropped just three EPs, with this being the last one in 1994, but the one that proved the most enduring. The newly launched LA RIOT label reissues it, and it sounds as good as ever: 'Post Chaise' is a timbales-laced jam with driving tech house drums and plenty of crowd noise adding to the wild vibes. 'The Bishops Groove' is deep, steamy and tribal in its nature and 'This Groove' then gets more expressive with vocal yelps and surging synths that come on like a rush. The Sunday Fantasy mix is the EP highlight - a more cosmic and soft-edged but still propulsive deep house groove.

Leopard DaVinci is the official keyboardist of Dabeull's Band.

“Casual Conversation” pairs Leopard DaVinci’s high-gloss funk production with Moniquea’s signature vocal charisma for an instantly addictive modern funk single. Flirty, confident and groove-heavy, the track balances retro-inspired synth textures with a contemporary boogie pulse, making it a strong fit for editorial playlists centered around funk-forward, danceable and soulful music.
Moniquea already holds a respected position in the global modern funk community, and this release delivers exactly what that audience wants: attitude, melody, replay value and undeniable groove. “Casual Conversation” has crossover potential between dedicated funk listeners, nu-disco audiences and feel-good R&B selectors.

“Flaws” pairs Leopard DaVinci’s signature synth-led funk production with Helena’s fresh and expressive vocal presence for a release that feels both timeless and relevant. Built around a message of self-acceptance and inner strength, the track transforms vulnerability into groove, offering a refined mix of modern funk, boogie and soulful pop energy.
Its lyrical theme makes it especially effective beyond niche funk circles, opening space for playlisting tied not only to groove and retro-funk aesthetics, but also to confidence, empowerment and uplifting mood. “Flaws” is melodic, elegant and emotionally direct — a strong crossover track with both artistic identity and listener accessibility.

As anticipation for The Rolling Stones’ Foreign Tongues album grows ever more feverish, the legendary band have served up another irresistible preview with the new single ‘Jealous Lover’. It’s the latest fantastic example of the Stones’ effortless ability to switch between styles, as they glide from the pop-rock dynamism of ‘In The Stars’ to this soulful groove featuring a captivating falsetto lead vocal by Mick Jagger.

Eloquent guitar detail by Keith Richards and Ronnie Wood is further enhanced by the redoubtable rhythm section of Darryl Jones on bass and Steve Jordan on drums and percussion, as well as the Stones’ longtime friend Steve Winwood on Rhodes and organ. ‘Jealous Lover’ continues the band’s lifelong love affair with R&B, as Mick delivers a “hands off” message to an over-inquisitive partner with such whip-smart lyrics as “You pray like a mantis, you’re emerald green”

After more than a decade shaping dancefloors and curating sound, ROOTS steps into a new chapter with the launch of its vinyl imprint: ROOTS LTD, a platform dedicated to exploring the essence of “the sounds of Roots.”

The inaugural release comes courtesy of Gojnea76, delivering a refined four-track EP built with the dancefloor in mind. Drawing on the spirit of ‘90s tech house and memphis rap, the record blends solid basslines, groovy vocal cuts, and rolling pads into a cohesive and timeless journey.

With his unmistakable signature, Gojnea crafts a debut that feels both nostalgic and forward-thinking, a statement piece to mark the beginning of ROOTS LTD.

London groover Sam Shelly plays everything from new jack swing to boogie, disco to soul, jazz funk to soulful house, and much of that feeds into his work in the studio. After outings on the likes of Midnight Riot, he now features on Soul Service Sabrosura with a new 7" full of love, life and soul. 'Spirit Love' is a life-enriching funk and jazz fusion with positive messages in the celebratory vocals, drama in the horns and killer groove in the drums and bass. On the flip, 'The Latin Strut' is a much quicker funk workout with shades of 60s styles and the narrative flow of a cop chase. It's a brilliant flip side to complete a gorgeous 45.

A fragile sense of time and memory runs through 'Thrill', the third collaborative album from Yana Pavlova and Pavel Milyakov. Recorded across four years and completed shortly before Pavlova's passing in February 2025, the collection expands the delicate language they introduced on Blue. The 14 scratchy, diaristic pieces move between ambient drift, field recordings and loose jazz inflections where haunted vocals, blurred guitars and faded textures surface then dissolve again. Rather than settling into fixed forms, the music unfolds patiently, revealing quiet emotional weight and space. It makes for a fitting closing chapter and a great document of Pavlova's singular, ethereal voice.

2026 Repress

This release represents the musical union of two friends who, despite the distance, have always found in music the place where they stay close. This EP is the proof that when the connection is real, sound becomes common ground - a space to share moments, ideas, and energy beyond geography.

Both artists have been devoted to physical formats from the very beginning, especially vinyl. They have always been record collectors, and that passion shapes the intention behind this project: a work conceived with the depth, respect, and materiality that only vinyl can convey. This EP is more than music; it is a cultural object that preserves a way of understanding techno.

Creatively, Truncate and Pushmann set out to merge their sonic identities. The result is an EP charged with strength, built for the dancefloor, and defined by a clear aesthetic: raw energy, firm rhythm, and a contemporary reading of hardgroove and jackin. These are intense, direct tracks - the kind that emerge when two visions complement each other effortlessly.

In a scene often driven by speed and overstimulation, this release stands out for its authenticity. It is fast, funky techno, yes, but crafted with soul, intention, and emotional depth. It does not chase trends; it delivers groove, substance, and a recognisable sonic character from the first bar.

Inspired by rave culture and the pure roots of hardgroove, this EP offers a journey that blends functionality, sensitivity, and force. A project that reinforces LILA's philosophy: preserving the essence of techno and supporting those who create it with passion.

'Electronic lullabies and folk songs from Ethiopia! A landmark recording from Ethiopia’s vibrant cassette era of the 1980s, Resonance of Time features pioneering composer Wesenyeleh Mebreku reimagining Ethiopian folk melodies through the humble circuitry of an early Casiotone keyboard.
'Historically, the works featured on Resonance of Time (የጊዜ ቃና Yegizie Kana) stand as quiet documents of Ethiopian musical memory. Many of the original songs included in this release emerged during important moments in Ethiopian history when music carried the collective emotion of the nation - love, loss, resistance, dignity, and hope. By arranging these pieces from Ethiopia’s musical heritage instrumentally, Wesenyeleh Mebreku aimed to preserve their essence while protecting them from being confined to a single era or performance style. In doing so, his preservation of Ethiopia’s musical heritage became a contribution to his country’s musical legacy itself, as Resonance of Time serves as an important musical milestone of this composer’s innovative recordings and musical developments in the prolific era of Ethiopia’s 1980s cassette tape culture.
'On Resonance of Time, Wesenyeleh made use of the first Casio electronic keyboard - the Casiotone CT-201 - to arrange and perform Ethiopian folk songs in his own unique style. Implementing the soulful, lo-fi character of the keyboard, Wesenyeleh’s interpretations of these works take on a life of their own. Charming analog tones interpret swirling sounds of organ and piano in kignit modality to the beat of a nostalgic rhythm machine while twinkling synthesizer sounds carry the melodies drifting out of time. The recordings reflect a watershed moment in Ethiopian musical history - when traditional melodies started being interpreted on electronic keyboards, and the advent of cassette tape recording allowed for music to be transmitted more accessibly than centuries-old oral traditions. During this time, Ethiopian musical modes were syncretized with new technology and budding musical experimentation, and Wesenyeleh’s interpretations on Resonance of Time are a landmark recording of this era, following in the tradition of reflecting upon and re-interpreting historical Ethiopian music for a new generation.
'Featured on the release are timeless Amharic folk songs and lullabies, Tigrinya love songs, Gurage and Oromifa popular songs, and even works closely associated with performers from Ethiopia’s 1970s popular music era such as Tiz Alegne Yetintu (ትዝ አለኝ የጥንቱ) which was famously performed by Tilahun Gessesse. Each piece, thoughtfully chosen by Wesenyeleh, is beautifully transformed into instrumental music of his own style - allowing these worlds of song to echo into the future while they are synthesized with the electronic innovations of the 1980s and Wesenyeleh’s own musical history.
'Wesenyeleh says this about his musical approach - ”Instrumental music, for me, is a space of reflection. Without words, the listener is invited to remember, imagine, and feel freely. In Resonance of Time, I hear my own musical philosophy: respect for Ethiopian kignit, careful dialogue with Western harmony, and a deep trust in melody as a storyteller.”
'Each piece performed on Resonance of Time speaks to a time when Ethiopian music was shaped by oral transmission through live performance and communal listening. In today’s fast-moving musical environment, revisiting these works is an act of cultural responsibility. These works remind us that melody once traveled slowly, settling deeply in the listener’s heart. The instrumental format allows these works to cross linguistic and generational boundaries, making them accessible to audiences who may not know the original lyrics but can still feel their spirit.
'Resonance of Time also reflects a broader historical dialogue: the meeting of tradition and adaptation. Ethiopian music has always evolved while holding onto its core identity. These arrangements affirm that evolution does not mean abandonment. Instead, it can be a form of safeguarding - ensuring that the musical wisdom of the past continues to resonate in the present and inspire the future.
'In this sense, the album is both personal and collective. It carries Wesenyeleh Mebreku’s own musical fingerprint, shaped by decades of practice, but it ultimately belongs to a wider cultural continuum. It is the artist’s contribution to keeping time audible so that memory, history, and sound may continue to speak to one another.'