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Roots HiFi are the leading Dub Sound System out of Santiago, Chile. Their 1st two 7” releases sold out instantly and are now collectors items .. here their 3rd release features a heavy UK style Dub mixed by the original maestro VIBRONICS in his Dub Cupboard Studio in the UK. Music for lovers of OBF, Iration Steppas and all sound system dub fans.

DYING VICTIMS PRODUCTIONS is proud to present the long-awaited debut album of Italy’s INTO DARKNESS, Route to the Other Side, on CD and vinyl LP formats. Italy's INTODARKNESS have been a work in progress since their formation in 2011. Led by vocalist / guitarist Doomed Warrior from the very beginning, the band released a handful of demos, a couple splits, and a couple EPs during their first decade of existence. While all short-lengths, they certainly did not lack in quality. As time (and lineups) went on, INTO DARKNESS’ primary influences – equally early Asphyx and Soulburn, Pentacle, Sinister, Gorefest, Dead Head, Phlebotomized, Acrostichon, and Thanatos among others – came more sharply into focus, aligning reverently within old-school Dutch death metal in style but with a unique lyrical focus: divulgative astronomy. Not astrology, not sci-fi, no Lovecraft – only and specifically divulgative astronomy, maybe poetically but definitely realistically. Now, at long last, INTO DARKNESS are prepared to unleash their debut album. Tellingly titled Route to the Outer Side, the Italians’ first full-length is a concept record about the outer solar system, which still considers Pluto as a planet and also includes Halley’s Comet.

Colemine Records is proud to present a brand new 45 from Aaron Frazer featuring two tracks from his debut LP. The funky and drum heavy "Bad News" has a timely message at a time when people willfully ignore the warnings about everything from climate change to systematic racism. Frazer recorded the tune in Nashville and he brought together a bevy of talented musicians, including members of The Memphis Boys, who backed Dusty Springfield on "Son of a Preacher Man" and Aretha Franklin on "Natural Woman." On the flip, "Done Lyin'" shows Aaron's vulnerability throughout the song. Heavy and tough production from Dan Auerbach paired with Frazer smoothly singing his heart out is a match made in sweet soul heaven.

RICK is the new record label by Rick Howe, host of Riddim Yard on PBS 106.7 FM in Melbourne, Australia. The second release, Calling Mr Speaker, is a re-lick of Tristan Palma's Face The Struggle, originally produced by Linval Thompson in 1982, with a new riddim built by Naram in Whanganui, Aotearoa. The 12" is mixed to tape by Naram in the 80s Channel One rub-a-dub style. Featuring reggae legend Freddie Mcgregor on vocals recorded at Big Ship studios in Kingston, Jamaica (2022). Complete with full horns cut by Hard Rubbish Horns, and two dub versions mixed for sound system.

Lorelle Meets The Obsolete return with their seventh album. It's the Mexican duo's finest, most ferocious work to date which sees them turbo-charge their psychedelic post-punk with a new electronic engine. Mixed by Antoine Goulet (live sound engineer for SUUNS) and mastered by Mikey Young (Eddy Current Suppression Ring), the most obvious comparison in terms of mood and mode is Primal Scream's classic XTRMNTR, another record that processed personal and political conflicts and spat them out as distorted dance music. It shows the influence of the duo's DJ sets and last year's radical Remezcla remix collection on their way of thinking and why they are now namechecking the likes of Moor Mother, MF DOOM, Patrick Cowley, The Bug, Paula Garcés, Phil Kieran, Coby Sey, Run the Jewels and Anadol."Playing other artists' music is different," says Lorena Quintanilla about the change of direction towards the dancefloor. "You're not just listening, you're watching how energy flows and how it affects other people. It gives you the chance to witness what moves other bodies." And Corporal, as the title suggests, is all about the body. "The body is what carries the weight of stress, exhaustion, sadness. It's the body that the system breaks first," explains Lorena. "Unintentionally, while composing the album, our bodies were seeking joy in the songs. Reconnecting with pleasure became a way to open new dimensions - a way to escape, yet remain present." The theme is carried over into the lyrics which, according to Lorena, variously refer to "the bodies that disappear, the abused bodies, the bodies we miss, the bodies that march together in protest, the bodies that are being controlled".

From 1993, a hallmark UK Dub album returns to the light. Originally pressed in a small run and extremely hard to find, this record was produced at Earthquake Studio by TNT Roots and Winston Dread.

Together, they provided a raw contribution to the early UK Dub scene using a basic setup: a Siel DK-80 synth, a Yamaha home keyboard, a Casio RZ-1 drum machine, and an Atari 1040 computer running Cubase V2.0. The tracks were shaped through an old Dynamix 8-channel mixer and captured on a Casio portable DAT machine.

TNT Roots provided the drum, bass, and chord patterns, while Winston Dread added the lead lines and performed the mixing duties. This raw, undiluted music reflects the evolution of Dub and contains the seeds of all their future work. Their dubplates were staples for legendary UK sound systems like Aba Shanti-I and Iration Steppas, becoming sought-after anthems that defined the "heavyweight" digital roots sound.

These are heavy sounds that stand the test of time. Back on the streets after 30 years, the album has been fully restored and remastered to honor the dubplate masters of UK Sound System culture

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Jon Schaffer's Sons of Liberty - Thought Crimes (Volumes 1 & 2) is a bold new mix that fuses the raw essence of the "Brush-fires of the Mind" LP (2009) and the "Spirit of the Times" EP (2011), breathing fresh life into a message that has proven eerily prophetic in an era of escalating world challenges. " Thought Crimes (Volumes 1 & 2) " is out now on all streaming platforms, inviting listeners everywhere, old or new, to discover its urgency. For collectors, a special physical rollout will arrive via The Circle Music on July 4, 2026 , marking the 250th anniversary of the signing of the Declaration of Independence. At its core, Sons of Liberty's music exposed the machinations of a fraudulent financial system and the insidious creep of authoritarianism, serving as a stark warning to humanity. Today, with those shadows cast longer than ever, this music stands as a timeless testament to truth, unfiltered and unapologetic.

What sets Sons of Liberty - Thought Crimes (Volumes 1 & 2) apart is its transcendence of partisan divides. This is not an echo chamber of political agendas; it's a universal wake- up call, championing freedom as the bedrock of peace and prosperity for every person on the planet. In a world fractured by division, Schaffer's lyrics rally for pro-freedom/pro-humanity ideals: anti-authoritarian, non-partisan, and rooted in the unyielding principles of liberty. It's a reminder that true empowerment comes from questioning and resisting systems that promote aggression and erode our shared dignity, fostering unity through principles of liberty, individual sovereignty, and collective resilience. Elevating the original material to new heights, this release features thunderous, newly recorded drums by longtime friend Mark Prator , whose precision and groove has powered classics from Iced Earth ( The Dark Saga , Something Wicked This Way Comes ), Demons & Wizards (Self- Titled Debut), and Jon Schaffer's Purgatory (EP 2018).

Paired with a cutting- edge modern mix by Jim Morris , the result is a sonic powerhouse that has matured like a fine wine - delivering an intensity and honesty that's all too rare in today's pop culture landscape. In an age where ideas can be silenced, this stands as the most censored and cancelled heavy metal music in history. It begs the question: Why? Are thought crimes an inevitable reality in a world that fears unbridled truth? Dive in, reflect, and educate yourself-- because freedom isn't a spectator sport; it is difficult, it requires action, and it's the only path to a better world for all of us

Does the complexity that defines us as individuals already have a sacred function, or do we need to connect the cells we are made of to something more? This is what the new and third album by Le Pietre dei Giganti titled Pastorale asks itself and the listener. Lorenzo Marsili (vocals, guitars), Francesco Utel (guitars, synths and samples, vocals, percussion), Niccolo Pizzamano (bass) and Francesco Nucci (drums, percussion) draw inspiration from the interaction between humans and nature, from the idea of the universe as a physical and chemical system. This inspiration melds perfectly with the cover artwork by Morgan Sorensen (See Machine), where the subject and space are represented according to a rational vision. The color red and the circle above it trigger an emotional response. Our brains follow the rules of the world around us, but culturally we associate this emotional reaction with a depth that goes beyond matter.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

In spring 2025, Abul Mogard and Rafael Anton Irisarri created the source material for their second album, Where Light Pauses in the Silence of the Sun, during a three-day residency at Morphine Raum in Berlin. Functioning as both recording studio and performance venue, the space has no stage, with the audience gathered around the performers. Working within an open framework, the duo reshaped the music each evening while recording the performances live to multitrack. Rotary speakers, modular synthesizers and bowed guitar formed the core of their sonic language, captured through a 1970s mixing console and microphones placed around the room.

Back in Mogard’s studio in Rome, the material was further crafted as motifs were stretched, fragments isolated, and tempos dissolved. Irisarri recorded additional guitar textures and treatments in New York, while passages recorded by Martina Bertoni and Andrea Burelli in Berlin reinforced the harmonic centres and brought breath, refinement and a new sensibility to their compositions. The process continued as Mogard’s layering and subtraction reassembled everyone’s parts into the final arrangement.

The album opens with “In the Eastern Wild,” building from a sparse outline into a monumental formation of low-frequency weight, its internal motion shaped by the rotating Leslie speaker. “Over the Domes” widens into a broader acoustic field, where sustained modular tones meet waves of softly plucked guitar. The music then turns inward with “A Blue Descent,” centred on Bertoni’s cello, whose growling timbre introduces a melancholic depth.

At the album’s centre, “In a Quiet Radiance” unfolds around a slow guitar ostinato, its luminous stillness opening into a more expansive and reflective state. Across its ten-minute span, Burelli’s violin lines and Bertoni’s lower cello phrases gradually surface, weaving through the harmonic field. Mogard brings Burelli’s processed voice to the fore, its emotive, operatic presence becoming one of the record’s pivotal moments. “Of Blessed Ages” suspends the sonic flow, shifting between parallel major and minor chords as lingering, slowly decaying melodies shape the music’s internal drift. The closing “Among Shadows” settles into a darker resonance as layered textures recede.

Mogard and Irisarri’s shared language balances restraint and maximalism. UK magazine Crack describes the music as “a tidal wave held in suspension,” while Dutch newspaper de Volkskrant writes, “What a colossal sound, and how this music strikes at the emotions.” Reflecting on the residency sessions, Irisarri recalls: “At moments I genuinely couldn’t tell if a sound was coming from me or from Abul. It stopped feeling like two people making decisions and began to feel like we were inside a system moving on its own."

Marja de Sanctis’ cover artwork revisits the vessel sculpture from the duo’s first album, Impossibly Distant, Impossibly Close. There it appeared as raw, unfired clay. Here it has been fired in the kiln and finished with a glaze. Light gathers on its polished surface and spills into the surrounding space. As she explains, “I wanted to convey the idea of continuity within the duo, and the vessel became a kind of container for that idea. However, their music felt different this time, and with the collaboration of Martina and Andrea, I felt it should have a sleeker, softer, more glamorous look, very distant from the first raw appearance.” The transformation of the vessel from raw clay to fired form suggests a passage from immediacy toward permanence, mirroring the music’s gradual expansion.

Originally released in 2008. Although this album invites aesthetic comparisons to works by the likes of Philip Jeck, William Basinski, and Janek Schaefer – draped as it is in an obfuscating, soupy crackle – there’s a very specific conceptual agenda at work here.

Part of the success of »Persistent Repetition of Phrases« comes from the attention it pays to the function of »the loop«, not only as a narrative ordering system in modern music, but as a means by which the brain itself recalls and interprets information; it’s as old as recorded sound itself, but in this context the repetition of small shards of auditory information becomes an elegy to fading memory and the worn-out synapses of old age. The track titles offer signposts through Kirby’s labyrinth of faulty remembrances, pointing their way towards the peculiarities dictating the manner by which the mind stores and attempts to recover information: »Lacunar Amnesia« references a condition that leaves a specific event absent from the sufferer’s memory, and Kirby’s music sounds suitably stuck on a prelude to something that never happens.

Bathed in gusts of crackle, the piece gets stuck on what might be a start of something, but we never get to hear what. Many of the pieces refer to different ways the memory might find itself caught in a holding pattern: »Von Restorff Effect«, »Rosy Retrospection«, and the title track itself are all suggestive of reliving a single event or point in time – here, both music and memory are united by the notion of »glitch«, whereby a fault or fissure causes the replaying of the same pocket of data over and over again, but what distinguishes Kirby from so many other musicians operating within the field of loops and broken recordings is the unnerving, ghostly sentimentality that courses through this process. »Long Term (remote)« is particularly explicit in its reaching back through the first half of the 20th century, exhuming snatches of music hall romance, now warped into a sinister new form by the erosions of time. It’s like watching John Carpenter’s »The Fog« only to find that instead of vengeful phantoms emerging from the mist, it’s The Glenn Miller Band. Which is infinitely more disturbing. More eerie still is the detachment from authorship endemic to this sound – at no point do you really sense the presence of a composer’s hand; this album just... is. A remarkable thing that only seems to have improved with age (which is either highly appropriate or highly inappropriate, I can’t quite decide which), »Persistent Repetition of Phrases« is an even better fit on vinyl, a medium which itself wears and fades just as the memory does.

UK electronic duo Prospa unveil their long-awaited debut album Free Your Mind, a bold, emotionally charged, and club-focused statement from one of dance music’s most exciting acts out now via CircoLoco Records.

Years in the making, Free Your Mind captures the full scope of Prospa’s evolution: from breakout underground producers to globally recognized festival headliners and chart-topping innovators. Across the album, the Leeds duo seamlessly blend euphoric house, rave nostalgia, breakbeat experimentation, progressive emotion, and peak-time club energy into a body of work that feels both deeply personal and built for massive communal release.

The album’s final moment is the focus track “Dreams,” a euphoric anthem that drives home Prospa’s songwriting and production sensibilities. Balancing cinematic atmosphere with the duo’s unmistakable dancefloor instincts, “Dreams” channels the reflective, ecstatic energy that defines the album as a whole, equally suited to sunrise festival moments as late-night club systems.

The album arrives following a string of major singles that have propelled Prospa to new heights over the past year. Most recently, “Baby” with Murda Beatz became one of Miami Music Week’s most talked-about track IDs after being teased during a back-to-back set with Josh Baker, quickly spreading across social media thanks to its infectious vocal hook and stripped-back club precision.

Before that came the album’s title track “Free Your Mind” with Cloonee — a vocal house anthem that climbed into the Official Singles Chart top 20, alongside Beatport chart-topper “Love Songs” featuring Kosmo Kint. Together, the tracks established the foundation for an album that represents Prospa at their most expansive and fully realized.

Hailing from Leeds, childhood friends Harvey Blumler and Gosha Smith connected over their shared passion for electronic music – drawing inspiration from the likes of Daft Punk, Disclosure, The Chemical Brothers, and The Prodigy as they first started producing under the Prospa moniker in 2013. The duo broke out in late 2018 with the anthem “Prayer” earning support from high-profile tastemakers including The Fader and NME, while helping relaunch heritage house label Stress Records after a 13-year hiatus. Since then, Prospa have embarked on a rapid ascent to consolidate their status as one of the UK’s most exciting electronic acts.

Experts at crafting high-octane dancefloor-focused anthems as much as they are at composing more heartfelt, meditative moments, Prospa’s work continues to evolve, blurring and pushing the edges of these boundaries into their biggest statement yet

Carpet & Snares inaugurates its ‘Friends’ series with four slammers from Stephen Slade aka Infinity Plus One. Active since the 90s and author of a series of highly sought-after minimal tech house records, Stephen’s sound is precision tooled for dancefloor explosions, and this EP is no exception.

On the A, he brings two versions of ‘I Broke Your Solar System’, one a stripped-back DBX-style tweaker, the other drenched in sunkissed keyboards and strings. On the B, ‘Forward Together’ is a tight house groove lifted into the stratosphere by flanged percussion, while ‘In The Streets’ luxuriates in stepping electro groove and lush pads.

AcidReflux returns with ARX001, a five-track manifesto from Delta Division. Dead Channel Rituals explores communication beyond collapse, ritualistic rhythms born from broken systems where distortion becomes language.

From the surgical tension of “Rupture” to the grit of “ST600,” the EP defines a new era for the label. Heavyweight remixes from Kincaid and Suncell complete the transmission, re-activating a once-dead channel through hyper-modern sound design.
credits
releases July 6, 2026

W&P by Delta Division
Mastered by Ankur at Seres Studio
Designed by Marco Paganotto
Distributed by One-Eye Witness
Pressed by Intakt

o Standard Edition black heavyweight vinyl
o 44 tracks from the 2025 sci-fi RPG
o Each disc covers one of the game's major factions
o Art Nouveau-inspired artwork
o Widespined outer sleeve
o Printed inner sleeves

Obsidian Entertainment, Xbox, and Laced Records present the official vinyl release of The Outer Worlds 2 Original Soundtrack, a sanctioned audio record of Arcadia's most influential systems, ideologies, and approved listening experiences.

The specially mastered tracks span three LPs presented in deluxe Art Nouveau-inspired packaging. The collection captures daily life in the colony-where progress is monitored accordingly, optimism is responsibly distributed, and deviation is resolved through established channels.

Volume 001: Truth, Justice, & Dispute Resolution introduces the sound of arrival of the Earth Directorate. Sweeping orchestral themes and restrained electronic textures underscore exploration, investigation, and the reassuring sense that Arcadia's instability is both anticipated and accounted for.

Volume 002: Wireless Free Arcadia represents Auntie's Choice at peak efficiency. Bright melodies, big band swing, and relentlessly cheerful compositions promote comfort, productivity, and sustained consumer confidence. Freedom is included. Continued satisfaction indicates proper use.

Volume 003: Mental Enlightenment & Refreshment pairs the Protectorate and the Order of the Ascendant. The Protectorate asserts control through ceremonial authority, rigid rhythms, and formal arrangements devoted to discipline, doctrine, and public order. The Order of the Ascendant follows with colder, more abstract compositions focused on empirical certainty, controlled experimentation, and outcomes unburdened by sentiment.

Composed by Oleksa Lozowchuk, Antonio Gradanti, and Jim Bonney, the soundtrack of The Outer Worlds 2 blends cinematic scoring, period-inspired styles, and sanctioned cultural messaging to reflect a colony guided by ambition-and the systems entrusted to manage it.

[k] C3 | DJ Hooligan– Sueno Futuro (Wake Up And Dream) [pink Clouds Mix]

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

The Bug and Ghost Dubs relentlessly probe and atomize original material culled from Kevin Richard Martin's critically acclaimed 'Sub Zero' album. ("Monolithic and unforgiving, even by the Bug's standards, representing his most suffocating take on ambient dub yet." Pitchfork). Remixed to punish sound systems and freeze up the dance, both Fiedler and Martin trade fresh, contrasting blows, after their recent IMPLOSION face off album on PRESSURE last year. (Dub/Reggae album of the year, 2025, in 'The Wire') The resulting 4 remixes are every bit as hypnotic and persuasive as you would hope for from productions fresh out the soundlabs of Michael Fiedler aka GHOST DUBS and Kevin Richard Martin under his dancefloor destroying Bug alias. Both producers intensify the desolate mood of the originals but introduce demolition inducing beats which provide the literally irresistible momentum. Echoes of the originals are respected and heard throughout, but the extra gear shifts pay off brilliantly. Guaranteed to push serious air, and test the most powerful of sub woofers, these 4 remixes vary from heavy to superheavyweight. i.e. GHOST DUBS outputs a deliriously stoned headnod with his zonal refix of 'When I'm Gone', which miraculously sounds both subtley mysterious, but monolithically huge, whilst The Bug prowls ice cold, on the noirish, narcotic, instrumental hip hop of 'Too Human', which sounds like prime Mobb Deep mixed by Rhythm & Sound' at 16 bpm. Essential remixes of an already very special album, the original atmosphere is not only captured expertly, it is categorically amplified. LARGE.

Classic Barrington Levy Album from 1984 restored and remastered for best ever sound.

Features the hit singles 'Money Move; and the Jah Shaka sound system anthem 'Praise His Name'. Unavailable for 40 years and first time ever released outside Jamaica.

Sleeve artwork design by the great Jamaican illustrator Limonius - highly collectable. Solid all-star roots backing from Sly & Robbie, Lloyd Parks.
Recorded and mixed at Dynamic Sounds and Channel One

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

Straight from the weedy fields of swampville Bruxelles we bring you 8 ‘tranches de vie’ of deep zone-hall by weirdtronic bass veteran Michael Crabbé’s best fitting sound costume to date: the mighty Rudi J! You might know him from earlier outfits but that’s not the main issue here. Rudi J is!

When this swamp thing touches the pads, it’s off-road after three seconds, even if you’re in the middle of Europe’s capital. Mixing analog dirt and digital sound bits in a very loose and personal take on dancehall, we’re pretty far away from the dance floor but definitely swinging. It’s a trippy affair wandering around concrete flowers with a deep ambient flavor, but it’s edgy.

A hot summer fever dream following his own lusty path, full of life and wonder but with something sinister hiding around every corner. Often reaching for the stars, a deeper shade of bass keeps things nicely grounded. These sounds are built with a sound system in mind and bass culture at heart. Even if you can definitely surf on it from your couch, picking out all of its ear-pricking details, it will very much come alive on a big sound.

A layered affair with almost jazzy and orchestral elements peeping through the stereo-field, spectral and dissonant but also playful. Like early dubstep, some of these tunes can destroy a clubsound, keeping you skunking out in pedestrian mode and snorting up the atmospherics, finally forgetting about that damn phone.

Paranoid, polyrhythmic ‘crowdrock’ from the not-too-distant future. Synthesised under the supervisory signal of an all-knowing, unofficially named, classified dialup modem that Wah Wah Wino have nicknamed "Sworx”, tasked with sifting through coded waveforms and neatly sorting into a secret filing cabinet. Post-fibre-optic technology idm wav. tablé. Your dreams are being monitored. Tip.

TRACKLISTING AS ON ARTWORK:







d a4. statecellar 641Amix


g b1. Western_intel frontier 2056

In a dystopian universe where elites manipulate memory to control the population. Vibracid emerges as a technique of liberation through sound: a method for erasing induced memory.

THE RHYME marks the counterattack phase. The insurgents infect the system used by the elites for control and reprogram it from within: patterns, voices and sequences as active code.

Contemporary bass, electro, breaks, acid and rave converge as transmission vectors. Each track operates as a unit of intervention within this science fiction scenario.

At this stage, new signals are incorporated. Power, with a solid trajectory within the underground circuit, opens the EP in a forceful way, with an acid, surprising and spectacular impact. Exieve, a young producer from Chernihiv, continues the attack with a raw tension where vocals cut through the signal like sharp fragments. Alongside them, Lups Digga, Atix, Parand and Calagad 13 continue expanding the system’s reach.

After a year of silence since the last catalog a new record is now coming to life, notes from the imaginary-world played & programmed by So-Fi.

“Mind Migration” is So-Fi’s debut release on Superluminal Recordings, four tracks inspired by unexplored old and modern techno sectors. Tribal rhythms are wildly unleashed in dialogue with obscure-spectral textures, a musical composition within its influences being reflected also by the artist’s prowess as DJ been witnessed in many clubs.

α1 ѕтrαɴɢε ѕyѕтεм
α2 ɴεѕтιɴɢ
в1 voιd ѕυɴ & ѕтorм
в2 ѕwεαтy coɴvεrѕαтιoɴѕ

Written and produced by So-Fi
Master & Cutting by Analog Cut Mastering Studio
Artwork by Cleymoore
Front cover photo by Elena Tredici
Catalog: superluminal02
©+Ⓟ Superluminal

The 18th Parallel strikes hard once again with its new riddim series called ‘BONANZA CHARGE’. Carefully produced in its Geneva studio, the collective of musicians presents two vocal cuts and one horns instrumental released as three 7” singles with dubs mixed by Roberto Sánchez. This is heavyweight roots reggae tailor-made for the heaviest sound systems!

First song recorded on the riddim, ‘Don’t Tell Me To Smile’ is NIGHTSHADE’s debut single on Fruits Records and it really is music with a powerful message. Turning an everyday frustration into a universal cry, Nightshade sings out loud what she always wanted to answer to the countless strangers who told her – like so many other women – to smile… because “a woman who smiles looks so much prettier”.

She says: “If it’s really such an innocent thing to say as some claim, why do men never say it to other men? Why do some feel entitled to tell complete (women) strangers how they should look, feel or behave? These so-called ‘small comments’, repeated over and over, are just one piece of the constant scrutiny and everyday violence many women face – and we can’t take no more of it.”

Carried by three united voices, ‘Don’t Tell Me To Smile’ reminds us that a woman is not a decorative object meant to please the male gaze. It’s a call to see through the trap: under the guise of compliments, what is at work is control over women’s bodies and minds. A smile should come from the heart, never from an obligation.

The 18th Parallel strikes hard once again with its new riddim series called ‘BONANZA CHARGE’. Carefully produced in its Geneva studio, the collective of musicians presents two vocal cuts and one horns instrumental released as three 7” singles with dubs mixed by Roberto Sánchez. This is heavyweight roots reggae tailor-made for the heaviest sound systems!

Fruits Records is a label run by musicians, that’s why we love instrumentals so much. In 2022, The 18th Parallel did a first collaboration with some of our favorite reggae musicians, Danish band Guiding Star Orchestra. ‘Meeting In A Wonderland’ was such a killer tune that we wanted to push the collaboration further with our Danish friends. ‘Bonanza Charge’ is another instrumental gem created between Geneva and Copenhagen: a powerful riddim section enhanced by the finest three-piece horn section in the business. Wheel up and come again!

Known to many a canny Bandcamp digger through his excellent Lost Acid series of digital albums, Jim Thompson is a London based producer, skater & graphic designer. His debut vinyl release came last year on Ooze Records, run by Laurence, an estimable selector based in the excellent Palace Records store in Brixton.

The release caught the attention of System One head D. Howard who followed the trail & found High Score Table from Jim’s Glytek Audio album, a thoroughly captivating mid tempo acidic chug with aching pads & an old school charm; exactly the kind of track that needs to be played on vinyl at an after hours in a basement.

A conversation began, pints were downed & the idea was spawned; lets make a killer ep with another Glytek cut, The Hollow Tree, 2 phenomenal new cuts - the muscular sub acidic tweaker Cruiser and Numerology, a late night trippy gem - and 2 remixes including top tier Irish electro don, Cignol, who has made some of the finest cuts to grace the System One basement over the last few years.

An accomplished video producer, Jim has made videos to every track, stand by for these, the first one for the CIgnol remix drops May 22 & its a peach ! System One is a new label dedicated to soulful electronic music, late night grooves & intergalactic beats, drawing its inspiration from the early 90s techno & ambient sounds of Uk, Frankfurt, Detroit & beyond

BERLINCIAGAY launches its first vinyl release, welcoming DJ Beluga92 for a dreamy and twisted journey through house, tech and electro. Rooted in analog textures and emotions,
BCG001 captures a driving and cinematic side of Berlin nightlife while still carrying enough tension for the late-night hours.

Mastered and lacquer cut by Mike Grinser at Manmade Mastering and pressed by Matter Of Fact, the EP feels intentionally physical and warm, embracing the depth and movement of analog sound.

DJ Beluga92 recently delivered a live set at Rex Club Paris, which can also be heard through the BERLINCIAGAY #10 mix series. We are very excited to finally present this release on vinyl.

A1 “Rip Meine Maschine” is Labelheads Tom Peters’ absolute favorite from the EP. A twisted roller driven by a distinctive male vocal, hypnotic groove and restless energy. The track became a closing moment during Tom’s latest US tour, where he played BASEMENT’s Studio in NYC, Vice Underground’s warehouse party in Los Angeles and Midnight Service in Miami.

A2 “System Effect” moves into a more dreamy and emotional direction. Floating vocals repeating “this is the sound” drift through housy pads and spacious textures, creating a track that feels both euphoric and trippy at the same time.
B1 “GA_Entry after 7AM” rounds off the record beautifully with spacey atmospheres, analog synth work, echoes and reverbs. It feels like the afterglow of a long night, designed for the early morning hours on the dancefloor or the journey home afterwards.

BERLINCIAGAY is a statement. A different perspective on Berlin club culture. Less aggressive, less functional, more emotional, dreamy and intimate.

After a few years quietly holed up in the studio, patiently dialing the details, Modal Citizen surfaces with a debut EP showcasing his spin on the golden era of Tech House.
Built on shuffling drums, warm low-ends and a handful of cheeky melodic hooks that seem to appear out of nowhere and refuse to leave. Heads-down gear with just enough mischief for the late hours and a fine-tuned system.

No fuss, no fireworks – just straight grooves that do the business.

You’re gonna be humming those melodies all night long, trust us.

Play & play & play baby!

Hedonistic club music from the mysterious Glasgow Sound System. Incredible productions from an artist that has appeared from the ether to bless our dancefloors with otherworldly and atmospheric tracks. Varied productions overspilling with excess and emotion. This record is split into 2 phases; the first comprised of 3 club-focussed tracks for dark rooms with a red light, the second phase are 2 downtempo trips to mellow the comedown. Welcome to the club, Glasgow Sound System – what a debut.

First tune is a superb little trippy Techno mental travel...
And then comes a Tribe acid swinging 175 BPM pumper !

The flip offer a Techno tune for the B1, easy mouth harp !
The finish is a Dub StepperTtechno tune in the Uzinadub style !!!

BIG UP !!

Repress 2026 of the Chronobrain 16... The Road Creator is back !

CRAZY stuff !!!

Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

The vinyl version of this release compiles the tracks from their two earliest EPs originally released by Ankst whilst the 22 track CD features further unreleased & unheard bonus tracks from this early era.

Super Furry Animals also recently announced additional festival dates to follow their sold out Supacabra Tour dates including stops in Llangollen, Bristol, York, Glasgow and London (their first since late 2016. See full 2026 dates below.

Holding the world record for the longest ever EP title the first EP -Llanfairpwllgwyngyllgogerychwyndrobwllantysiliogogogochynygofod (In Space), was released in 1995, followed in the same year by Moog Droog, with both EPs making up the eight-song track listing of the vinyl version of Precreation Percolation.

Later that year, with a record deal on the table and future classics such as God! Show Me Magic and Hangin’ With Howard Marks already making up the SFA’s set list, the band’s path following “two years of chaos” (including a legendary 1993 debut ‘gig’ at Bangor University’s Banana Lounge, lasting all of five minutes due to technical and chemical misadventure) was set. In the album’s liner notes, singer, Gruff Rhys writes: “It would have been the best gig ever, had we not daisy chained so many synthesizers together, that it resulted in a terminal systems failure.”

By summer they’d joined Oasis, Primal Scream and The Jesus and Mary Chain in the Creation Records family, leading to a huge London signing party that saw members of the band famously thrown out of.

The term of intriguing genre experimentation, spanning long-form electro, blissed out instrumentals and expansive prog-influenced rock, heard across much of Precreation Percolation was subsequently refined and channeled into their thrilling, 1996 debut album, Fuzzy Logic and their untamed live performances.


While consciously and frequently referring to the unheard, untold and unforeseen as a naturally nostalgia-resistant band, Super Furry Animals look ahead to reconvening with fans to celebrate their shared history as the Supercabra Tour gets underway.




(the vinyl comes with a copy of the CD in a slim card wallet)

Indie shops only. Limited red vinyl rerelease. 500 for the World (just 80 copies for the UK) After falling out with Sir Coxsone, the legendary head of the Kingston label Studio One, Lee Perry first founded his own band and then, in 1973, set up his own studio in his backyard. What was born out of necessity developed into a unique success story. With both the Upsetters and the Black Ark, Perry made music history - most notably with the 1976 release of the album Super Ape, on which he made the genre of dub bubble and boil from the mixing desk in previously unheard ways. For Perry, the studio is like a living organism. Whether he truly experiences it that way or simply lets too much ganja go up in smoke, for Perry the equipment is organic, empathetic, and intelligent. The catch is that the results sound exactly like that as well. Long before sampling was invented, he layered tracks of deep basslines, echoes, and reverb with various self-recorded sound sequences – often played in reverse - on top of, into, and beneath each other. In other words, Perry was the first producer who made the music instead of the band. Among other things, this earned him the title ‘Salvador Dali of Dub.’

Mannequin Records presents Electronic Corporation 1998–2006, a compilation bringing together rare and long unavailable recordings by the German electronic projects H.E.I.M. Elektronik and MAS 2008.

Active around the turn of the millennium, both projects share the involvement of producer Ive Müller while developing distinct collaborations and approaches to electronic music. H.E.I.M. Elektronik was founded in 1996 by Holger Erlenwein and Ive Müller (after the two artists split in 1999, Müller continued using the name), while MAS 2008 is the project of Ive Müller together with René Kirchner. Though separate entities, the two projects explored a similar sonic territory: stripped-down electro, minimal electronics and machine-driven body music shaped by analog hardware and a raw DIY production ethos.

The roots of Müller’s work go back to the final years of the DDR. As a teenager he worked as a licensed DJ — officially known as a “Schallplattenunterhalter” — operating a travelling disco across Saxony. With limited access to official Western releases, music circulated through cassette recordings taped from West German radio stations such as RIAS Berlin, NDR2 and Bayern3. Together with friends he travelled between youth clubs and discos around Leipzig with a “rolling discotheque”: a Russian Wolga pulling a trailer loaded with Electro-Voice sound systems sourced through the black market.

At the turn of the 2000s this background in underground electronic culture resurfaced in a series of recordings rooted in electro, EBM and minimal machine music. The tracks collected on Electronic Corporation 2000–2002 capture this moment: cold sequences, driving rhythms and stark synthetic textures produced with a direct and uncompromising approach.

Compiled and remastered by Rude 66 from the original sources, Electronic Corporation 2000–2002 documents a small but fascinating chapter of German underground electronics from the early digital era.