Cerca:the take

Probably the most respected and sought-after producer of the European reggae scene of the last ten years, Spanish genius Roberto Sánchez (Willi Williams, Earl Zero, Alpheus, Keith & Tex, Milton Henry,...) takes place behind the microphone to deliver a new album as a singer under his pseudonym LONE ARK. Soberly titled Showcase Vol. 1, this album is a collaboration between Sánchez and the Swiss band THE 18TH PARALLEL, whose playing is well known to reggae fans, since its musicians have recently played and produced some remarkable records, including I've Seen by Oku Onuora, Roots I Vision by Micah Shemaiah or Wonderland of Green by The Silvertones and Burro Banton.

Faithful to the Jamaican roots reggae tradition, Showcase Vol. 1 offers six vocal tracks followed by their dub counterparts where all the creativity of the sound engineer and the musicians is freely expressed. On instrumentals at the same time heavy and irresistibly dancing, with a modern production but deeply rooted in the roots reggae sound, Lone Ark and The 18th Parallel push their listeners to critical reflection. A strong message + powerful music = a must-have album!

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

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

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

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

DJ Support: Harvey, Balearic Mike, K Andrews, Apiento, Joe Morris, Idjuts, Piers Harrision, Flo Dill, James Holroyd, Andy Wilson, Kenneth Bager, Phil Mison, Colleen Murphy.

Following the success of the Lovehandles ‘Reworks’ EP, Oswego Music returns with a second volume of reinterpretations via the mysterious ‘Love from the Archipelago’ the alter ego of a renowned European digger, dj and producer.

First up here ‘Endless Ocean’ sees our island hopping hero reimagining an underrated antipodean 80’s track. Its pulsing synths and wistful vocal working as equally on a dancefloor as at the after party, or indeed the morning after the night before.

Track Two on side A ‘Carica’ takes us to South America recalling to some extent the west coast fusion of mid eighties artists like Pat Metheny. Brilliant percussion, vocals and synths combining into a heady, hazy workout- permed hair and tiny shorts optional.

First on the flip ‘En Route’ continues our journey (via the local library) with a gritty, synth heavy piece of post disco experimentalism extended here for your listening pleasure

Lastly, ‘A Grain of Sand’ reinterprets a folky aor number- long overdue in making it to vinyl- remaining (until now) a favourite digital secret weapon for the more ‘horizontally inclined’ dj.

Rounding out the EP, 1900-Isla provides a brief meditation on what it is to be free. A beautiful island in the middle of nowhere, with friends, as the sun sets…

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

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

American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.

Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.

The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.

Juxtaposing acid-tipped breakbeats with influences of acoustic behaviour in nature, Sully unveils a debut release for Critical Music with two-track 12” ‘Flux’ b/w ‘Chatter’. Sully says: "‘Flux’ and ‘Chatter’ were another attempt to take the groove and feel of the breakbeats I've been previously working with and build them from the ground up. The aim was to find space for the tonal elements to breathe and end up in a place I'd not been to before." Birdsong became an unexpected reference point during the writing process, with Sully using synthesis to analyse and recreate natural calls as compositional material. The resulting dialogue between acoustic behaviour and digital sound generation forms part of the release's underlying methodology rather than a surface aesthetic. "The contrast and contradiction of the organic world captured by digital processes is always a pull for me," Sully explains. "It never fails to inspire." Jack Stevens aka Sully has spent much of the last two decades developing a body of work that sits slightly outside the obvious cycles of revival that have shaped UK bass music. While his records draw from established rhythmic forms, they rarely settle within a single tradition, instead examining the shared characteristics between them. His releases have consistently explored the points where 2-step swing, breakbeat construction, and jungle's rhythmic vocabulary begin to overlap. Sully’s records retain a relevance that extends beyond the moment of their release, continuing to circulate through DJ sets and specialist record collections. This 12” adds another chapter to a catalogue defined by sustained investigation into rhythm, texture and soundsystem music.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

Sublime frequencies from the golden era of ambient electronica.

Plumbing hidden depths beneath a deceptively tranquil surface, MLO's mid-90s masterpiece Io is an overlooked gem from a golden era for ambient electronic music. Originally released in 1994, Jon Tye and Pete Smith's collaborative album responded to the growing chill-out movement by leaning into classical and avant-garde influences from Satie, Debussy and Cage through to Soft Machine, Incredible String Band and Eno. Recorded across various studios stacked with classic and rare synths, Io was patiently composed into slowly unfolding suites punctuated with ripples of arrhythmic interference to arrive at a purist vision of true ambient.

The next instalment in Forever Records' ongoing reissue series shines a light back on this landmark piece of UK electronica with the first official reissue since its original edition on Rising High. As well as the original double LP pressing and a new CD digipak version, there will also be a uniquely numbered, limited edition housed in a gatefold sleeve that comes with a bonus 10" featuring two previously unreleased versions of the album's opening cut, 'Wimborne'.

Press response to Io:

"Not so much ambient, more environmental music, Io lets you bring as much (or as little) of your surroundings in as suits your mood. Every listen can be different. Interactive ambient at last.”

IO is pure ambience. Relying on motif as opposed to melody, MLO have produced a truly evocative album.

Peter McIntyre, Mixmag, UK 1994.

"MLO's influences range from the likes of Eric Satie and the intellectual salon music of his era to the more predictable reference point of dubby, modern techno, though they feel, perhaps rather contentiously, that "ambient music can exist in isolation from the rest of the dance music arena". Can it? Take a trip to Io, and find out."
Generator Magazine, UK 1994.

"If you like your ambient deep and moody with long chords that creep along at approximately the speed of drying paint then check out MLO’s Io."
Mixology, UK 1994.

"MLO set the controls for the heart of headspace for their first full album release. Io is top grade ambient brain… Ace album…"
Select, UK 1994.

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

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

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

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

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

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

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

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

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

GoldFord’s soul music is rooted in truth. His raw, unvarnished songs are a balance of introspection and catharsis, grappling with heartbreak, healing, and the quiet revelations that come with growth. After spending a decade in corporate America, the St. Louis native (now based in Los Angeles) turned to music as a means of survival following a devastating personal loss. “I was more afraid of dying with regret than I was of failing,” he says of his decision to finally choose the path at 30, a choice that set his entire trajectory in motion.



That initial fearlessness has since fuelled extraordinary momentum. With over 4 million monthly listeners on Spotify, GoldFord has rapidly become one of the most compelling emerging voices in contemporary music. His breakout EP, Orange Blossoms (Oct 2024), has surpassed 100M streams, and his latest project, Space of the Heart (Sept 2025), has already generated 90.8M streams, 2.7M saves, and over 153,000 pieces of user-generated content across TikTok and Instagram. The standout track “Easy Does It” has reached 43.5M streams and continues to accelerate with more than 250K new weekly discoveries on Spotify.



GoldFord’s touring trajectory has followed the music's rapid ascent. He began in intimate rooms like Los Angeles’ Moroccan Lounge and New York’s Baby’s All Right before embarking on a debut North American tour that sold over 25,000 tickets. This momentum carried over to his first UK and European run, which required multiple venue upgrades in cities like London and Manchester. The international momentum continued with an Australian debut in March 2026, alongside key festival appearances at Austin City Limits and Noah Kahan’s Out of the Blue. He is currently headlining 1,000+ capacity venues on the Space of the Heart North American tour, including sold out shows in historic rooms like The Fonda and Webster Hall, with upcoming festival slots at Shaky Knees and Oceans Calling.

2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.

2026 Repress
Sun Electric - the legendary Berlin duo of Tom Thiel and Max Loderbauer - returns with Episodes, an enticing new album. While the pair has been active and creating over the years (remember their track 'Every Now And Then' on the 10 Years De:tuned compilation in 2019), Episodes marks their first album of original material in nearly 20 years. Now, with a renewed way of working together, they present fresh and captivating music on the Belgian De:tuned label, built from recordings made with the vintage 1960s Subharchord Synthesizer. Across 6 tracks, Sun Electric takes listeners on a strange yet wonderful journey through shifting moods and sonic textures, capturing their unmistakable sense of exploration and atmosphere. With kind support of the Studio for Electroacoustic Music of the Akademie der Kunste. Stay tuned!

The wonderful Ian Anderson at The Designers Republic created all the graphic work. Mastered by Mike Grinser at Manmade Mastering. Available on 180g vinyl and CD, with a separate digital release through all the usual online stores.

Ready to take our streets back? Kill the Colossi sind wohl eine der spannendsten neuen Bands aus England und haben mit ihrer (zuerst nur) selbstveröffentlichten Debut-CD "Braces for Impact" vor zwei Jahren sofort für weltweite Beachtung in der Szene gesorgt (mittlerweile auf Vinyl von Sunny Bastards erhältlich)! Kein Wunder die aggressive Mischung aus "in your face"-OI!-Shoutern und markanten Streetpunk-Melodien umrahmt von fetten Gitarrensound und wohlplatzierten Singalongs knallen alles weg. Vergleiche mit Kalibern wie "Lion's Law" machten schnell die Runde. Das Ox-Magazin schrieb zurecht: "KILL THE COLOSSI sind neben THE CHISEL die gegenwärtig wohl beste englische Oi!-Punk-Combo." Und selbst die Metalszene wurde auf die Band aufmerksam (Rock Hard 9/10) und bescherte der Band eine Einladung zum Kuhzi-Festival. Jetzt erscheint der Nachfolger "Roses & Riot Shields" und setzt den Weg von Kill the Colossi eindrucksvoll fort: Mitreißend-kraftvoller UK-Streetpunk/ Oi! mit ausgeklügeltem Songwriting und dem "gewissen Etwas", den man schwer in Worte fassen, dafür umso mehr im Herzen spüren kann! 10 neue Songs bei denen man übliche Klischees und abgenudelte Stereotypen vergebens sucht. Stattdessen sozialkritische Lyrics (Empire of the Dirt, Scarcity), wütende Bestandsaufnahmen über das verzerrte Spiegelbild der Gesellschaft (Working the weak), bis hin zu all dem neumodischem Scheiss, der manipuliert und beeinflusst (Under the Influencer; Legal High). Mit "Boots don't fit" schließlich gibt's eine unter die Haut gehende Hymne, die fernab der üblichen oft banalen Bekenntnisse gegen Rassismus viel tiefer in die Wunde sticht und deutlicher nicht sein kann! Jede Gesellschaft kriegt halt was sie verdient_"Kill the Colossi" dürfte mit diesem Album der Sprung in die nächste Liga sicher sein!

Ready to take our streets back? Kill the Colossi sind wohl eine der spannendsten neuen Bands aus England und haben mit ihrer (zuerst nur) selbstveröffentlichten Debut-CD "Braces for Impact" vor zwei Jahren sofort für weltweite Beachtung in der Szene gesorgt (mittlerweile auf Vinyl von Sunny Bastards erhältlich)! Kein Wunder die aggressive Mischung aus "in your face"-OI!-Shoutern und markanten Streetpunk-Melodien umrahmt von fetten Gitarrensound und wohlplatzierten Singalongs knallen alles weg. Vergleiche mit Kalibern wie "Lion's Law" machten schnell die Runde. Das Ox-Magazin schrieb zurecht: "KILL THE COLOSSI sind neben THE CHISEL die gegenwärtig wohl beste englische Oi!-Punk-Combo." Und selbst die Metalszene wurde auf die Band aufmerksam (Rock Hard 9/10) und bescherte der Band eine Einladung zum Kuhzi-Festival. Jetzt erscheint der Nachfolger "Roses & Riot Shields" und setzt den Weg von Kill the Colossi eindrucksvoll fort: Mitreißend-kraftvoller UK-Streetpunk/ Oi! mit ausgeklügeltem Songwriting und dem "gewissen Etwas", den man schwer in Worte fassen, dafür umso mehr im Herzen spüren kann! 10 neue Songs bei denen man übliche Klischees und abgenudelte Stereotypen vergebens sucht. Stattdessen sozialkritische Lyrics (Empire of the Dirt, Scarcity), wütende Bestandsaufnahmen über das verzerrte Spiegelbild der Gesellschaft (Working the weak), bis hin zu all dem neumodischem Scheiss, der manipuliert und beeinflusst (Under the Influencer; Legal High). Mit "Boots don't fit" schließlich gibt's eine unter die Haut gehende Hymne, die fernab der üblichen oft banalen Bekenntnisse gegen Rassismus viel tiefer in die Wunde sticht und deutlicher nicht sein kann! Jede Gesellschaft kriegt halt was sie verdient_"Kill the Colossi" dürfte mit diesem Album der Sprung in die nächste Liga sicher sein!

Surprises are nice. Unexpected, delightful - Vision Fortune last released music in 2015, and so odds were off that we’d hear from them again.

But against all odds, Vision Fortune III is coming out on Gringo Records, following the release of their last album ‘Country Music’ on ATP Records.

The trio first agreed to record a new album as somewhat of a dare over a marathon pasta and wine heavy luncheon in Palermo, Sicily. Waking up with sore heads, they realised in mild panic that flight tickets had been purchased, a cottage in rural Wales was booked, and it was too late to pull out.

And so it was - the Fortunes arrived in Machynlleth Wales in Spring of the following year. The rules were simple - takes were live, songs minimal and the fireplace kept roaring.

Drummer Andres Ayerbe’s strict roast lamb dinner cooking schedule resulted in an album less frenetic and agitated than previous work - instead, III explores a softer, more subdued and subtle side of Vision Fortune. Additional overdubs were recorded in New York City and Birmingham, by AC Williams and Alex Townend. III was completed - a new, leaner Vision Fortune. Like a good lamb dinner - more meat, less fat.

Press Quotes for Country Music:
"An impressively brutal record" NME 8/10

"Immersive and introspective musique concréte rippling rippling with dub rhythms, orchestral strings, tolling bells and discordant drones coming close to the alien beauty of Mica Levi's sonically extreme soundtrack work." Uncut 7/10

"Unsettling, strangely cathartic and hook-free (in a good way)." Dazed ("Twenty albums to look out for in 2015")

"Assembling whole scrapyards of sound and turning them into something better than what went before" The Guardian

"Swaddling the senses in soundwaves, Minimal ambient sketches and harsh electronics abound on this fascinating 12-song affair" The FADER

"Basically just one long, connected droney throb. But it's an awesome long droney throb." Brooklyn Vegan

Mothers of All is Mark Gomes' second album as Blue Chemise for Students of Decay, following 2018’s acclaimed Daughters of Time. Though built from very different materials, it shares its predecessor's economy, sense of proportion, and fascination with the ways domestic life can open onto larger and less easily defined realms. Where Daughters of Time evoked tender, if alien, nursery songs, Mothers of All takes the form of spectral salon music heard at a temporal and geographic remove.

These pieces feel fundamentally receptive, with Gomes allowing his chosen fragments to retain their own histories - both personal and aesthetic - while revealing unexpected tonal relationships through their idiosyncratic arrangement. The resulting music is at once deeply personal and strangely unmoored, a space where the intimate and the distant occupy the same plane.

What lingers about this project as a whole is the paradox that the most private experiences can also be the least singular: that family, memory, and devotion become most legible at the point where they cease belonging to any one life.

byt’ continues its eclectic journey with the third release in its catalogue. This chapter sees the return of Telva, shifting into a new frequency with a story born between 11.11 and a full Taurus moon back in 2024 in Berlin. The composition recorded in a single take, is articulated through a dreamy, electronic, minimal house, and vocal infusion. Left as romantic and unrestrained as the artist’s reverie, it is preserved in its raw form to protect its intimacy.

“Every record I make is a guide towards a better understanding of all that I can be. 11:11 is a fragment of a special spark I experienced, which peeled back another layer of myself enriched by the lessons along the way, until finally holding it in my hands today. What started as an epiphany on Heideglühen’s dance-floor unfolded into a kiss of destiny, a fleeting delirious love affair, and a quest of passion that hugged my memory, compelling me to revisit my early days. An endeavor of surrender, no matter how unknown, unconventional or uncertain it all may feel. To finally have the courage to let it be messy, raw and true, so that I stand naked once again, while daring to honor the absence of order as part of the magic and mystery of life.” - Telva

2026 Repress

Even if Ancient Greek isn’t part of general knowledge anymore, the word mega is. Hence, you might admire our modesty to say that Roman Flügel’s first outing on Running Back in 2022 is perfectly headed. Greta, large, mighty and somewhat the love- or brainchild of his earlier Garden Party and the previous D.I.S.C.O., Mega pulls out all the stops: hi-nrg melodies, circus bells, cowboy funk and honey hooks at 140 beats per minute. While it is nearly impossible not to take this bait or decorate it with the Bobby-O medal of honor, Roman proves one more that you can be catchy and classy at the same time.
Rules on the other hand, puts some of these stylistic devices in reverse or down-tempo mode and feels like brushing your teeth after an extended feast or the perfect hors d’oeuvre.
Completing the picture with Film 1, Film 2 and Film 3, Flügel flexes his freethinking muscles and lands in-between art school new wave bands and soundscape science. Music that is masterly made, magical in its impact and perfectly described with a misquoted line from Get The Balance Right: it’s never predictable.

UK underground legend Acerbic aka Ant, Chicago Loop and many other alias returns to Perc Trax after the huge success of this Acerbic remix of Perc's 'Imperial Leather' last year. A regular on labels such as Stay Up Forever, Cluster, Hydraulix, Maximum Minimum and his own Power Tools label, now it is time for his over overdue first full EP for Perc Trax. Across the four tracks on the Doom Circuit EP Acerbic sets out is vision of club techno. Hard driving and powerful with a constant sense of forward momentum. Opening track 'Doom Circuit' has been a key part of Perc's sets for months now. Acid techno without the acid as a succession of computer bleeps take over the role a 303 would usually play in tracks like this. Next up 'Lukla' floats echoing lead lines, looping house music stabs and just a touch of London underground acid to create a fusion of key underground sounds. B1 track 'Metroliner' is the most energetic track on the EP as a stomping kick and clap rhythm is topped off synths stabs reminiscent of Luke Slater's classic 'Forklift. Finally 'Helter-Skelter' takes things down a notch to finish the EP to focus more percussion intricacy making it the perfect mixing tool for the more creative DJ.

At this point, the vast swathes of unreleased Muslimgauze material Bryn Jones left behind when he passed away over 25 years ago are as legendary as any of his work. And sure enough, there's still some being unearthed today.

The fourth entry in a 7" single series is taken from one of Jones' customary completely unlabelled DATs, which he sent to labels seemingly as fast as he finished them.

A new series of singles collecting one of Bryn Jones’ innumerable DAT tapes that would show up at the labels he worked with sans any identifying marks.

Side A layers multiple voices (a background, faraway wail that either is or is akin to a muezzin, and a flatly declaimed two-word phrase that periodically halts proceedings) over his classic, slightly brick-walled hand percussion for a strangely meditative experience, as Jones phases elements in and out, more or less prominently in the mix. Side B however, open in a surprisingly dreamy place for Muslimgauze, with a looped ascending synth pad and beautiful sampled singing only gradually acquiring percussive accompaniment. As with the other side, Jones is content to let these elements interact and swap spaces in the mix for the duration, trusting in the sturdiness of his chosen components to carry the listener through.

YARN welcomes René Audiard for its tenth release with "Makes Me Feel", a four-track EP from one of underground electronic music’s most singular voices.

Across years of dub techno, minimal and leftfield electronic experimentation, René has developed an approach to stripped-down music that feels anything but limited. Where minimalism can often become an exercise in taking things away, his work finds possibility in what remains. "Makes Me Feel" is a particularly fitting example: immersive, at times strange, but always full of feeling.

‘Lovin’ opens the EP in familiar Audiard territory: murky low-end, locomotive groove, reduced rhythmic compositions and an understated framework swimming in a pool of detail. 'Possession' lets in more light. Vocal echoes, persistent rhythms and occasional string phrases give it a cinematic quality, while a groove that seems to circle endlessly takes on an almost shamanistic pull. The EP’s 11-minute behemoth, 'Flesh', fills most of the release’s B-side while making a convincing case for patience and sophistication. There are echoes of minimal’s golden age here, but Audiard never mistakes repetition for standing still. Tiny rhythmic fragments sit alongside expansive orchestral gestures, with samples working at every scale of the arrangement. Warmth and cinematic drama run through the track, but it's the playful programming underneath that keeps it moving. 'Night' closes the record on a different note, recalling Audiard’s work with Ali Çakır in Düve. Percussive samples, accordion and Middle Eastern guitar phrases bring a more acoustic character to his reduced 808-infused broken beats, making for a playful, occasionally melancholic ending with a distinctly microtonal feel.

What makes René Audiard’s music so rewarding is how readily you recognize his hand in it. There is a particular grain to the sounds, a way of placing details within a groove, and a willingness to follow an idea wherever it leads. Across “Makes Me Feel”, those instincts give four quite different tracks a shared identity. Even when working within familiar forms, Audiard makes them sound entirely his own. It’s the holy grail of music production: a personal sound signature. And a thoughtful addition to YARN’s growing repertoire of reduced, sophisticated dancefloor music.

After a couple of Echo Labs 45s and an ECR release - the ECHO EDITS sub-label is back once again, with the BREAK CRACKER in 2026

After the last latin flavoured joint on the label, we head to an all out Funk and Jazz party with a couple of cover versions of dancefloor favourites, never on a vinyl 7” before - given an added makeover for a double sided 45 bomb.

“I Want You Forward” takes a big band version of the Jackson 5 monster hit originally released on an LP. After being chopped,looped and layered with sound FX plus JA hype vocals to take it to the next level - this has been a favourite dubplate to start DJ sets with a bang !

“Psychedelic Drummer” is the Horace Silver penned soul-jazz cut that spawned various other vocal and instrumental versions that have been dancefloor favourites in mod clubs and funky jazz sessions over decades. Originally a very short track on a private press LP - it was the massive drums that made this ripe for more exposure with nothing more added - just cut-up, rearranged and extended for club play.

With 'The Electro Guilde III EP' Zodiak Commune Records once again presents a selection of well-known and label-recurring electro-acid producers who take you on their various adventurous musical journeys.

'Collateral Funk' is a one shot live recording funky acid Electro track by Acidulant and inspired by the likes of Dynamix II

'We Will Survive' by Dima Gastroler is a fantasy about robots fighting for their rights in the future world of global robotisation. Dynamic electro and psychedelic pads make it sound like that battle. We will survive!

Step into the world of pozek with 'EPT', a 128 BPM electro-acid tune that takes inspiration from 80s toys like Speak & Spell and classic old-school electro. The track weaves quirky, retro acid lines with driving electro beats, creating a perfect fusion of nostalgia and futuristic energy.

When johnfaustus start an electro track for Zodiak commune Records, he always have in mind the journey of a spaceship to the edge of a dark galaxy. No exception with 'Oberon', syncopated rhythms, abrasive basslines and a dark spacy theme

Ascension on Wax returns with its sixth release, welcoming back label co-founder Lavan for Soul Baby EP Inc. K15 Remix. A four-track, 25-minute journey through deep, soulful and jazz-influenced house music.
Rooted in the warmth and musicality that have become central to the Ascension on Wax sound, Soul Baby is an honest, straight-up house record made for the soul. Across three original productions, Lavan explores rolling grooves, hypnotic harmony and atmospheric synth work, balancing classic house sensibilities with a distinctly UK influence.
Completing the EP, K15 takes on "Zoning" with a stunning rework that introduces UK broken-beat rhythms and additional Rhodes keys. His signature futuristic deepness brings a fresh rhythmic dimension to the track while retaining the soul and spaciousness of the original.
The Soul Baby EP feels equally at home in a DJ bag or spinning on a living-room turntable. Timeless, soulful house music with a strong sense of identity.

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

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

When everything just aligns… then it feels like it is meant to be. I think we have all experienced that feeling; a feeling of completeness and that ‘full circle’ moment. Nihil Young lands his debut album packed full or memories stemming from the day he met his wife, to more recent times and the birth of his first child.

‘Compass’ takes you on a real journey of melodic music expertly written and crafted by Nihil from instruments all through to lyrics and songwriting – he has used all of his skills on this body of work – and he does not disappoint! AT ALL!

The album features collaborations alongside Rowland Giles, Leo Wood, Lasada, Jordan Arts, FRDRK, Adriana Stone, TYGR TYGR and more… Each track sounding as special as the last. THIS IS COMPASS….

This is Nihil Young … This is REALPROG

Whisper Doll's new music comes from a time in frontwoman Fiona Tagami's life when she was actively trying to cultivate whimsy, a sense of possibility. "It's about this switch of trying to be in the world as a hopeful person," she says. The songs' dream-pop sound, with their woozy guitars and ethereal vocal melodies, evokes that feeling. Some moments feel weightless and joyous, others dense with mystery. Whisper Doll began as a solo project when Fiona was in high school in Atlanta, writing in her bedroom while she fell in love with bands like The Sundays, Mazzy Star, and The Cranberries. During the process of making her debut album, 2024's Perfume Garden, she moved to New York and became quickly wrapped up in the city's indie scene. While playing in various other bands, she met her future Whisper Doll bandmates: drummer Shawn Majeed, guitarist sophomore album Lucky Clover is Whisper Doll's first full-band record, and the first one made in full in NYC, representing a newfound sense of clarity for Fiona as well as a newly collaborative process. With their meticulously crafted sound and deeply thoughtful songwriting, Whisper Doll place us in a world that's unmistakably their own.

Early DJ Support: Moxie, Grant Dell, and Saoirse

HUMAN is a vinyl-only electronic music label based in Manchester, focused on music, art, fashion, and culture. We press records we believe in with no shortcuts.

HUM001 is the label's debut release, featuring E-Funk / Twisty by Scarper.

Scarper is a London-based producer and DJ known for blending melodic electronica, broken rhythms and left-field club ideas into a sound that’s entirely his own. Over the past decade, a deep catalogue of albums, EPs and remixes has taken shape, alongside work in advertising, gaming, TV and short film.

‘E-Funk’ is a hybrid club weapon - part 2-step, part house, part breaks, all energy. A certified floor starter that lives in the bag and lands every time, especially when the room hits its stride.

‘Twisty’ is probably the most dancefloor-ready cut, but the solid broken grooves dancing around acid bass lines and bleeps on each of these nine thumping tracks could work any room at the right moment.

Texan beatmaker Flobama continues his Astrophonica journey with the four-track EP ‘Soundboy’s Return’, exploring fuzzy Jungle/Hip-Hop crossovers with the help of the now-iconic Amigo software. The results so far have been full of character and depth, marking the emergence of a distinct artistic identity. Now more than ever, a unique sonic palette feels essential—and Flobama has one in bucketloads. From the first pad, chord or whiff of a breakbeat, his sound is instantly recognisable: a fresh, modern take on a classic formula.

Digital here...

After a couple of years building WREKT in Ipswich, it feels like the right time to take things a step further.

Tom from Red Eye Records and I started WREKT to bring artists we love to Ipswich, alongside some of the best local DJs and MCs. So far we’ve had Grooverider, Bryan G, Fabio, Storm, Sully, MC Blackeye and YT, with Jumpin Jack Frost and MC Moose up next.

Now WREKT is becoming a label.

For the first release, I’ve teamed up with Coco Bryce for four jungle tracks covering different tempos and flavours. We called the project CBD — Coco Bryce & Digital. It was too good not to use!

WREKT started with the nights, and turning it into a label feels like the natural next step for Tom and me. We couldn’t think of a better way to kick it off than this release with Coco.

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

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

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

CBR010 Que no te eduquen, aprende! EP by Hannah Addams First solo EP in vinyl for Domingo aka Hannah Addams. 5 Original Cuts, printed in wax to celebrate the 10th vinyl release on Casanova Bar Records. Raw, Hypnotic, Powerful and rolling grooves. No downs, but straight Techno, just the way Hannah Addams understands Techno Music. Playing with the patterns between a 4/4 kick and 5 or 7 or even 3/8 patterns on the bass line. Artwork by Domingo Casanova. Picture taken by himself to "El Gran García" while playing Damas back in 2021. Mastered at Koschitzky Mastering All rights reserved © Casanova Bar 2026

Grammy-nominated German producer and DJ, Mousse T is set to headline the next installment of Defected's celebrated House Masters vinyl series with a sprawling three-LP retrospective of his remix career. Spanning six sides of wax, the collection pulls together two decades of dancefloor alchemy, tracing his signature style from disco- inflected house to breakbeat- tinged funk and back again. Including four brand new "Shizzle" and "Re-Rub" productions that are exclusive to this compilation and one remix that has previously never been released on vinyl before, makes this a particularly essential release, offering vinyl access to mixes that may otherwise circulate only in DJ pools or digital crates. House Masters Mousse T. features classic and fresh takes on the likes of Dennis Ferrer, Martin Solveig, Moloko, Camelphat, Spiller, Shakedown and many more, cementing Mousse's reputation as one of house music's most versatile and prolific talents.

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

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

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

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

Recordings on ECM vereint, wie Pitchfork es formuliert hat, „einige der herausragendsten Werke des
Minimalismus-Komponisten Steve Reich, darunter die maßgebliche Aufnahme seines unbestrittenen Meisterwerks Music for 18 Musicians“. Die Sammlung umfasst die drei Steve-Reich-Alben, die zwischen 1978
und 1982 auf dem Label veröffentlicht wurden. Sie erscheinen als originalgetreue Faksimile-Ausgaben in
einem hochwertigen Kartonschuber mit einem Booklet, das Fotos aus dem Archiv sowie Manuskriptseiten
und Liner Notes von Paul Griffths enthält. Direkt von den originalen analogen Masterbändern gefertigt
(AAA) lassen die drei Vinyl-Ausgaben diese wegweisenden Aufnahmen, die längst zum Kanon der zeitgenössischen Musik gehören, in ihrer ursprünglichen Klangqualität neu strahlen. Die drei Alben enthalten
die Werke Music for 18 Musicians, Octet, Music for a Large Ensemble, Violin Phase und Tehillim und
dokumentieren somit die einflussreiche frühe Schaffensphase des Komponisten sowie seine künstlerische
Entwicklung über einen Zeitraum von fünfzehn Jahren. Die Box erscheint anlässlich des 90. Geburtstags
von Steve Reich im Oktober 2026.
“About the famed ECM Recordings, much has already been written. Suffce to say that they confirm
that Reich could convey the pulse and spirit of American urban life as brilliantly as Gershwin did 30 years
earlier. Even the unity that arises from out of phase quasi-chaos is revelatory. Recorded 1976–1981, the
works’ emphasis on percussive sounds makes for anything but soothing background listening. It’s all fabulous stuff. Although listening to multiple works in one sitting could possibly induce numbness – taken one
at a time, they are as exhilarating as they are essential.” – Jason Victor Serinus, Stereophile Magazine

4 more reworks from the crates of JUNIOR SANCHEZ. Massive hits from DRIZZY, RIRI, CVRCHES, and BEY get the JUNEBUG floor filling, hands-in-the-air treatment.

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

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

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