Search:the thing

Released in 2024 via the usually way darker and oftentimes Hardcore / Breakcore oriented Flop Beat Disk label is this widely unrecognized 10" gem which harks back to the golden oldschool era of German HipHop vibewise.

The Munich-based duo of Misanthrop & Pay No Attention lays down a foundation of positive sample-laden grooves, pays respect to the classic BoomBap sound at times, adds a trippy, dreamy and well psychedelic vibe to their production effort and tops things off with conscious German flows and lyrics aimed at dedicated oldskool HipHop headz from all over the globe. No matter if one understands German or not - if you understand the true spirit of HipHop this is for you.

Never officially distributed before this is the first time ever this unrecognized gem is available to a wider audience, albeit in highly limited quantities.

Limited pressing of 100 copies on yellow transparent vinyl.

The first GTG X release brings together some of the most sought-after tracks on Grab The Groove, previously available only digitally. The four artists featured on the record share one thing in common: a puristic approach to techno, each translating it through their own distinct perspective.

Zur Feier des 25-jährigen Jubiläums ihres siebten Albums aus dem Jahr 2001 (ihres letzten mit Brant Bjork) veröffentlichen Fu Manchu die California Crossing 25th Anniversary Edition. Das Album, das von der Band gemeinsam mit Matt Hyde (Deftones, Slayer, Monster Magnet) in den legendären Sound City Studios in Los Angeles aufgenommen wurde, ist die kommerziell erfolgreichste Veröffentlichung der Band. Die aus 11 Songs bestehende Sammlung enthält "Mongoose" (bekannt aus einem Toyota-Super-Bowl-Werbespot sowie aus Sons of Anarchy, The Hot Chick, Boondock Saints II u.a.), "Squash That Fly" (ihre erfolgreichste Radio-Single), "Bultaco" (mit Gesang von Keith Morris von den Circle Jerks) sowie die Fan-Favoriten "Separate Kingdom", "Hang On" und den Titelsong. Diese auf 1.000 Exemplare limitierte Ausgabe erscheint als El Camino Sand Splatter-farbiges Vinyl im Gatefold-Jacket. Für die optimalste Klangqualität wurde das Audiomaterial des Albums nun neu gemastert. "a strangely nihilistic celebration of all things Cali." - The Guardian "Fu Manchu are the stoned Ramones, a matey Motorhead: a band who can rewrite that album into the infinite future and rule perpetually." - NME

Pronounced Zero (ay ay) RIOT
Shit and Shine go fully CAN on their eleventh album release for Riot Season since their debut way back in 2004.
DEEP SOLID GROOVE REPETITION !!
Fully CAN in the sense that the rhythms are VERY CAN LIKE, but with a modern sharper edge and less flowery decoration. If CAN had a Roland TR-1000 drum machine it might sound a lot like this!
Basically all your favourite bits of krautrock, but sharpened up with modern tools, and it works perfectly! Say it again … DEEP SOLID GROOVE REPETITION !!
It’s definitely danceable, if that’s your thing, but also definitely deeply listenable. Something to put on and fill the space with infectious groove while you wash the dishes or drive your car, have your workout (I’ve heard from several sources $&$ makes excellent workout music) or whatever.
Two long songs on each side of the record. It’s an absolute beauty and actually sounds like shit and shine might be taking things a bit more seriously for a fuckin’ change! BRAVO !!!

The A-side delivers two sublime cuts drenched in that unmistakable Italo-Balearic magic. Warm chords, sun-kissed melodies and effortless grooves transport you straight back to the golden days of mid-'90s Italian house music. Eyes closed, you're cruising along the Riviera with the top down, lost in pure bliss.
Flip it over and the mood shifts firmly toward the dancefloor.

The B-side explores deeper territory, moving through a range of shades while keeping things locked into a tough, clubfocused framework. There's a distinct New York stomp running through these tracks—driving, hypnotic and full of attitude— yet they never lose the emotional depth and musicality that have become a Westcoast Goddess trademark.

Just when you think the journey is complete, the EP saves its ace for last. Closing things out is a hypnotic funk groove built around silky Rhodes, a tight rhythm section and an iconic bassline—a fitting finale that leaves a lasting impression. A seriously strong package from start to finish, and another essential chapter in the ever-expanding world of D3 Elements.

Nu Vision is the latest project of Duke Cooper, band leader and label boss of Nation, Kode and DirtyBlends. There are three humans who make up Nu Vision, and they all have their own stories and discographies, records released on labels you might know, gigs played in Chicago or Berlin or someone’s loft, lives lived, friends made, sleep lost - fighting for theirart, standing by truths, defending voices, honoring progenitors, whilst pushing a new paradigm. Time is both fleeting and heavy for us all, but it is not without receipts.

Nu Vision is a band in the classic do-you-believe-in-alchemy sense - equal parts rhythm, damage, and deep feeling. Drenched in nostalgia and futurism, The Seed is a singularity of sound + vision; as if heavily rotated by VJ Dave Kendall on MTV’s 120 Minutes but materialized via today’s technology.

The Seed 10 inch provides additional music inspired significant icons Section 25, Liaisons Dangeruses and Adrian Sherwood having paved the way with their prior successes..- this package of The Seed is no freshman effort; but rather, a masterclass in continuing sonic education, delivering a unified experience from beginning to end. A NU VISION.

The Seed 10 inch provides additional music inspired significant icon band: Section 25 from the period of 1981-1984 with a more electronic-dance direction, process which culminated in the album ' From the Hip ' and remix single "Looking From A Hilltop", both released in 1984 as "Insecure Man is about being true to manhood with Robert Lane leading the charge with his vocabulary message of the current state of society.

Insecure Dub focuses on the period of 1981-1984 with an alternative electronic-dance direction process as an inspired blueprint from Nu Vision inspired from Adrian Sherwood having paved the way with his individual success.

Inspired from electrifying songs produced by Chrislo Haas (DAF) and Beate Bartel (Mania D. / Matador) reinforced by Krishna Goineau’s French and Spanish Speech-Attack-Lyrics Liaisons Dangereuses created a unique style anything other than a Berlin or Düsseldorf ‘thing’ – that was propelled to an international underground phenomenon of fame.

Nu VIsion was inspired to create a blueprint from the period of their productions of 1981-1982 with an electronic-dance direction paying homage with passionate craftsmanship utilizing what equipment was possible in the studio at the time of this recording featuring new members; Zoe Murphy & Fletch The Stranger on vocals and James Chazz on Saxaphone with a Ring Modulator.

Moving things a bit deeper AoW welcome Black Eyes for their fourth vinyl release. Alongside his own Lost Control 2097 label, Black Eyes has released records on esteemed labels such as Upstairs Asylum and Housewax contributing significantly to the underground house music scene in Berlin.
Mystic Aquazone EP features subtle smoky house grooves spread across 3 original tracks. Nico Lahs crafts a forward thinking remix to send things into the next dimension. Deeply authentic tunes for the dance floor and for the mind.

DJ DIE SOON is the apocalyptic alter-ego Daisuke Imamura, whose performances of masked malice have been a fixture in the Berlin underground for the past decade. His latest record My Brothel The Wind takes inspiration from Sun Ra at his most grotesque, conjuring a distorted phantasmagoria with an eclectic crew of compatriots like Rully Shabara, Sara Persico, and longtime collaborator Kiki Hitomi. Film director Hiroo Tanaka’s visual contributions in the album art, poster, and music video complete the album’s narrative, telling a story not of villainy but of phantom caprice in a dying world.
My Brothel The Wind shows DJ DIE SOON as an alchemist of distortion, transmuting the club-forward beats of his 2020 debut Kappa Slap and the seething horrorscapes of DIEMAJIN, his 2022 collaboration with Tokyo vocalist MA. Imamura’s obsession with noise stems from his upbringing in Tokyo, where he grew up hearing the deafening roar of trains every day. “The buildings were really tall, so the sounds reflected so much and it was so loud that you couldn’t even have a conversation on the phone. Hearing this noise every minute when living in this flat, it became a normal thing,” he says. While most would content themselves with avoiding loudness, DJ DIE SOON seeks to unpack its visceral potential.
DJ DIE SOON’s subterranean productions form a monstrous gestalt with the eclectic contributions of his network of co-conspirators. “Unfinished” and “Directions” are pulsating chimeras that highlight animalistic vocalizations from Hitomi and Shabara; Italian MC Franco Franco’s verses snake underneath the noisy onslaught. The tectonic textures of “Dandelion Crackers” are courtesy of multi-instrumentalist Laure Boer’s handmade stone synth. Sara Persico’s mangled vocables hang as fleshy reminders of human fragility on “SAQ4IME”; in the Hiroo Tanaka-directed music video, the track’s sonic uncanniness is made cinematic, with an ambient dread that references Hiroshi Teshigahara’s 1964 psychological thriller Woman in the Dunes.
While Sun Ra’s intergalactic Moog reached for the stars, DJ DIE SOON plunges into the depths of hell. “Everybody, Shake Your Body, We Chill At Party” feels like the sonic equivalent of a wax museum burning to the ground, rigid smiles melting into the fire. Rather than a vision of the future, My Brothel The Wind is a laugh-cry of despair in the face of a Hadean present. DJ DIE SOON confronts the world with a new hand-made mask, reborn in the ashes.

Take a trip back to the golden age of popular music with Golden Oldies, a 2LP collection bringing together 40 timeless favourites from the 1950s and early ’60s. Featuring legendary artists including Elvis Presley, Buddy Holly, Sam Cooke, The Everly Brothers, Roy Orbison, Chuck Berry, Etta James and Bobby Darin, this hit-packed set captures an unforgettable era of rock ’n’ roll, pop, soul and rhythm & blues. Highlights include Johnny B. Goode, Heartbreak Hotel, The Wanderer, Mack The Knife, Crying and Smoke Gets In Your Eyes – classic recordings that still sound as good today as they ever did.

After a five-year-long hiatus, CVBox is back with six tracks between techno, acid, electro and IDM that are more suited to those super dark times we're currently living through than ever before. On "Pattern Based On", the Dresden-based artist and long-running Uncanny Valley-comrade (four EPs and one album) proves that he hasn't lost his touch when it comes to creating electronic cyberspaces that might drive you mad a bit. With majestic sounds and constantly evolving arrangements, the tracks are strangely entertaining on the dancefloor while you can't help but still feel a queasy sensation in your stomach. While some describe the tunes as milky, permeated by translucent membranes, for others they are an aural embodiment of urban landscapes in the post-apocalypse. Only two things are true: No one sounds like CVBox and all his tracks sound like CVBox. The title refers to structures derived from repetitions, sequences and, indeed, patterns. Although the sounds within these patterns usually follow clear paths, they are allowed to overlap and falter. At the same time, it is music through which CVBox comes to terms with his time as a paramedic. The artwork extends this idea with a special twist. A medical-based test pattern with its clinical functionality is set against a backdrop that is clearly placed in a natural environment. A process that creates a kind of artefact and triggers immediate reflection on what will remain of us many decades from now. What role will music play in defining this?

"Dark Flower" is the new imprint by Robert Babicz, launched in cooperation with Systematic Recordings as a home for his own music. Named after one of the defining tracks of his career, it feels less like the launch of another label and more like the opening of a private room: a place for sound, emotion and instinct, shaped entirely by Babicz himself. With „Electric Love EP" he begins this chapter in full colour. After more than 1.000 released tracks and music on labels such as Bedrock, Kompakt, Systematic and Sudbeat, FLOWER0001 is not about proving anything. It is about freedom.

“Electric Love” opens the EP with punchy breaks, luminous harmonies and choral textures that seem to rise above the beat. It is bold, open and slightly unexpected, electronic music with a pulse and a sky above it. "Cuerpo Con Color” brings things closer to the floor: warm chords, fluent grooves and a calm, driving pressure that slowly pulls the body into motion. Across two versions, “Tease Me” closes the EP with a burning bassline, oriental vocal fragments and a seductive tension running underneath. Strange, physical and unmistakably Babicz.

London mainstays Half Baked push beyond a quarter of a century here with Romanian house favourite Dan Andrei debuting on the label. He offers the beautifully clean and serene ambient, minimal and tech fusion that is 'Orange Sunshine' - the sort of 5am gem that soundtracks deep immersion in an alternative world, complete with real beauty in the chords. Sticky' has a more pronounced rhythm and bubbly blend of rubbery drums and bass, while spacecraft-life synths circle the groove and neat melodic patterns unfold with a curious nature. London duo Brainsurfers aka Harry McCanna and Sam Bangura add more drive but keep things deep and crank up the cerebral details.

FUNKSOULSEX is the debut album by London-based Liv East and the culmination of years spent refining a sound entirely her own. Blending R&B, funk, neo-soul and contemporary electronic influences, the album explores love, desire, intimacy, lust and connection in the modern age through smoky grooves, sensual vocals and vintage-inspired production. Featuring production from Brighton duo AMIcity and incorporating vintage equipment & textures, FUNKSOULSEX bridges timeless influences with a fresh, forward-thinking perspective, creating a sound that feels both nostalgic and unmistakably modern.

Bassline brings together Russell Ruckman and Marcia Carr for a 12", which was originally part of a 2025 digital album, but now drops on wax and has been remastered for extra punch. Side A opens with the vinyl debut of Rani G & Raul Riena's 'Feels So Right' (World-Life-music Raw Teaser remix), which will soon transfix the floor while the driving groove of Hot Issue's 'Motion 96' is a cool vibe with wet clasp and dusty drums brought to life by cute little melodies and plenty of snap. Side B leans into deeper territory with Mercedes' Living For The Moment (Booker T remix)' and the uplifting dub energy of Never Gonna Give Up. If you like soulful house with a classic New York edge, this one bangs.

Longtime Do It Now favourites Club Squisito are back alongside vocalist Fre Monti for a warm, emotionally-charged deep house cut that will soon worm its way into your affections. The original is an unhurried blues ballad that builds into a thumping groove with Monti's haunting vocal work threading through with real feeling. Emiliano S. remixes it into something jazzier and hard-swinging, complete with a clever half-speed breakdown, while Nutty Nys opens the flip with a tasteful, vocal-led broken-piano hook. Pigsie closes things out with a four-on-the-floor banger that taps into early-2000s deep house energy.

Ogazon inaugurates her newly founded self-titled label. Kicking things off is South Africa's Deano, who previously released on labels such as Hayes, Sungate and Symbolism to name a few. This EP presents four sharp edged yet groovy but overall very functional cuts that represent both the artist and the label very well.

Sure Thing presents its latest compilation Alba, welcoming six new interpretations of the label’s collective ethos into the fold. As tempos swirl and subconscious energy swells, each artist leaves their indelible mark on the label’s journey inward, an atlas of stories reflecting connections made and visions shared across worlds apart.

FOUNDATIONS004 heralds the Dawn of A New Era from FTL. A thematic 4 tracker evoking 1993 darkside jungle tekno flava. Lead track Braindead Badbwoy sets the scene with heavy kicks, weighty basslines, eerie pads and dark atmospheric stabs that build towards a climactic final drop. Next up, Consciousness kicks things off with uplifting hardcore vibes before dropping into classic rave stabs and a massive bassline built to make the bricks shake. Those familiar with undead lore will instantly recognise the infamous character on the sleeve, perfectly capturing the track’s title: a last brain-cell firing moment from the pattern recognition of a long lost tune. Consciousness in the new dawn. Keeping on theme, Stolen Memories drifts through dark atmospheric landscapes with haunting spoken-word vocals. Another climactic finale and we’re reminded once more of our talismanic protagonist, piecing together broken synapses at the end of an epic allnighter. What actually just happened? Rounding things off, title track Dawn of a New Era emanates with poignant nostalgia and the promise of new awakenings. A jungle tekno romper to carry you through to first light.

We are heartbroken to announce this very special release — a tribute to the genius of Keith McIvor aka JD Twitch (Optimo), who sadly left us on September 19, 2025. Over 20 years ago, when Skylax had no money and was just starting out, Keith was among the very first to believe in us. He delivered four unforgettable remixes of Denise Motto – I M N X T C, sharp, uncompromising cuts that defined the true spirit of underground dance music. At the time, due to limited means, only one made it to vinyl. Now, for the first time, we are proud to present the complete set: four remixes — the unreleased acid mix, blackrabbit whorehouse mix, industrial mix, and alternative mix , all cut loud and mastered with love. This release is more than a record; it is a homage to Twitch, a true pioneer and tastemaker, our generation’s John Peel. His art of digging, his fearless intelligence in music choices, his no-compromise vision — all of it stands in stark contrast to the disposable culture of today’s Instagram DJs. What we celebrate here is the real thing: edgy, sharp, timeless. A piece of history, pressed in vinyl forever. Featuring a stunning artwork by H5 (Daft Punk, Air, Logorama), specially designed to pay homage to the legend. Ultra-limited, no repress.

A much loved and missed record label headed up by Jacob Kelly (J.Cub) & Leena Sharma. A label that isn’t there to follow fashion, trends or be the next big thing, but a record label that is a platform to release music from Artists they love and support.There are no boundaries with the style of music they release, after all it is an Eclectic Avenue. WE ARE EAR!

Kicking things off on the A side is "Baby I’m 4 Real" is a summertime feel Deep House groove with a beautiful Soulful vocal running throughout.

On the flip is "That Storied Word" another Deep House groove with Steve Cobby playing a beautiful bassline that takes you throughout the whole track.

Rounding off the EP is "Juvenile Delinquent" which takes a step back in time with a break beat, heavy baseline and a familiar vocal sample, one for the “Heads”.

Following on from the highly anticipated Rebirth 20 anniversary project, Rebirth return with the first of two limited-edition bonus 12"s, digging deeper into the label’s catalogue with four killer remixes and previously overlooked gems.

Kicking things off with Leon Feat. Corrina Joseph – I Follow You (Darryl Baalki Remix), a soulful and deeply grooving house cut with Corrina Joseph’s beautiful vocals riding over a warm, hypnotic groove. Darryl Baalki adds his signature touch, making this one a serious late-night house weapon.

Next up is Gianluca Pegoiani Feat. Ann Saunderson – Numero 5 (Rough Ride) (Nick Holder Trackheadz Remix). Nick Holder’s Trackheadz take the original into deeper territory, delivering a classy, rolling slice of deep house with that unmistakable Detroit/Chicago-inspired feel.

On the flip we have Mata Jones & Mikey V – Funky (Elado Remix), bringing a more energetic and playful edge to proceedings with a seriously infectious groove, chunky drums and plenty of dancefloor funk.

Finishing off the EP is Psycho Radio Vs LC Anderson – Bad Reputation (Red Axes Remix). Red Axes work their magic on this one, twisting it into a dark, psychedelic indie-dance workout packed with attitude and hypnotic momentum.

Another essential selection from Rebirth as they continue celebrating 20 years of the label with some seriously choice cuts.

Limited Press — act fast!

DJ Support: Laurent Garnier, DJ Deep, Moplen, Tedd Patterson, Hector Romero, Quentin Harris, Jamie Jones, Danny Krivit and many more

Rocco Rodamaal puts his touch to 'More' (Danism + Train feat. Toshi) and delivers a deadly touch. Following on from ’Ndisole’ and ‘Mabele’, Danism + Train continue their regular collaborations with Toshi on 'More’. The original mixes dropped in the summer as the trio continue to explore a journey through afrocentric grooves. Now Rocco Rodamaal takes things in a new direction; maintaining focus on Toshi’s etheral vocals while adding deep, driving drums and a fierce baseline. It's a real pleasure to have one of our favourite remixers back on SoSure Music. Moplen adds stunning touch to 'Mabele' from Danism + Train. Reimagining the track as only he could with some tremendous additional production and new arrangement on Toshi's vocal.

For our Sophomore release, Solar Suite steps up with Back 2 Basics, four groove-led productions that favour restraint and subtlety. Stripping things back to the essentials with patiently crafted rhythms and basslines that could just keep on chugging. Club trax with one eye on the classics and the other fixed firmly forward.

We are honoured and excited to share the fourth Dream Space EP with the world: Domenic Cappello - Celestial Wave.

For more than three decades, Domenic Cappello has been at the helm of Subculture - the innovative and vastly influential Saturday night at Glasgow’s Sub Club. A true master DJ with deep rooted influences from Detroit & Chicago, Dom has consistently pushed things forward over the years and remains at the cutting edge of modern dance music.

Throughout the 90’s and early 2000’s, he put out high-quality records under various monikers on labels such as Soma, 20:20 Vision & Seventh Sign. Fast forward to recent years and Domenic has been on nothing short of a hot streak - releasing music under his own name on Craigie Knowes, Clone Royal Oak and his outstanding ‘Basement Philosophy’ LP on Alien Communications.

He brings the heat once more for this record; blurring the lines of house, techno and electro to deliver four awe-inspiring cuts of electronic music.

‘The Secret Moon Party’ sets things off, nodding to a certain Highland gathering by some of Scotland’s finest purveyors of quality tunes. A warm, gritty bassline carries the track, evolving into a symphony of precise sound design that is in equal parts playful and euphoric.

Dom’s knowledge of the dancefloor shines through on ‘Acid & Love’. This early night floor filler is the alchemy of just about everything you want to hear when things are getting going. Pure warmth and bliss throughout, also holding its place played deep into the late hours.

‘We Loved Your Ears (in memory of Keith)’ is a heartfelt tribute to the one and only Keith McIvor aka JD Twitch of Optimo. Dom wrote this track as something he thought Keith would have loved, and for this one, we’ll let the music do the talking.

Keith was, and continues to be, an enormous inspiration for us and so many others. In his memory, all proceeds from the digital sales of ‘We Loved Your Ears’ and 25% of all vinyl sales will be donated to Beatson Cancer Charity and The Scottish Brain Tumour Research Centre of Excellence.

Closing the EP is title track ‘Celestial Wave’, which does exactly what it says on the tin. A beautiful piece of music and fitting soundtrack for star gazing, moon dancing and dreaming.

Josh Ludlow - one half of MAKE A DANCE - one of London’s most beloved duos - steps out on his own for a rare solo outing on legendary London imprint Rhythm Section International.

A late contender for EP of the year - the record meanders menacingly across four tracks of mind-altering, dissociative Brain Music, precision engineered to transport a listener and hypnotise a crowd without losing any dancefloor impact.

Interestingly, Bradley Zero (RS label boss) and Mr. Ludlow have a connection dating back to the late 2000s, when they were both drummers in rock and roll bands...almost 20 years later - a shared love of experimental electronic music has brought them back together, resulting in this spellbinding EP.

Channelling a much darker, heads down, aggressive sound than the uplifting house M.A.D have become known for, the record begins with 'Brain Music’, which serves as a Detroit techno-inspired wormhole of a track, guiding us into a parallel, inner dimension.

Time Upside Down is next up and it becomes apparent we have entered another realm entirely. The introductory bars of the song feel like a long journey down a dark tunnel. The sound design and acoustic backdrop are so evocative you can almost see it. Obnoxious bass notes reverberate through the space created by the track, slowly giving way to flurries of high-pitched, resonant acid lines - the sum of which escape easy classification. It would be lazy to call it house music, misleading to call it techno - but it’s definitely not tech house. Elements of disco, electro, post-punk, balearic and Weatherall-esque chug are all in the mix but essentially, this is its own thing - this is Brain Music.

The record continues to the penultimate track “The Kettle”, which starts off in more familiar upbeat, bongo-house territory before the calm is betrayed by a hovering intensity which grows out of nowhere before making space for a humungous bass synth melody - so big in fact that it has never once failed to elicit club-wide bass-face; which for a mid-tempo track is no mean feat. We round things off with ‘Mean Mother’, the most playful of the bunch: a Chicago house-indebted workout reminiscent of Paranoid London at their most visceral. The track feels familiar and almost safe until the synth-work is cranked up to 11, creating a cacophonous SH-101 build-up into a disco-esque drop that would get even the most reluctant raver jumping up and down for more.

Besides all the theatrics and acoustic world building, the evocative sound design and the insatiable, no-nonsense grooves - the thing that makes these tracks stand out is the attention to detail. No two fills are alike, every embellishment is EQ’d and polished to perfection - yet no immediacy is lost. The tracks feel alive, intentional and constantly evolving. Hyperbole aside - we have a serious, generational talent on our hands whose mastery of the equipment, understanding of the dynamics of the dance and unabashed
playfulness is being harnessed into something that stands out head and shoulders above the crowd.

Frenchman Janeret heads up the second release on fledgling label Species. Deep in the game for over a decade now, Janeret has an innate ability to blend emotive layers of electronic funk with sultry grooves and hypnotic rhythms. His output is impeccable, each release encapsulating his emotionally rich approach. On the road, he’s an in-demand selector, channelling his love for sharing music that moves people into spellbinding sets from Europe to the USA, Australia and South America.

On the Vibrations EP Janeret embodies the essence of what makes him unique: combining the core foundational components of his sound to produce four dancefloor-ready cuts that epitomise where he’s at right now…

The EP opens with its title cut, ‘Vibrations’, a steppy production with an enchanting riff and mythical melodies. A reggae vocal utters “vibration” intermittently, accompanied by a hip hop sample, demonstrating Janeret’s broad sonic palette. Layered drum arrangement and deep bassline make this one a surefire dancefloor groover.

Up next it’s ‘No End’, a mesmerising trip driven by crisp percussion and a mean b-line. As the drums roll out, Janeret introduces jaunty layers that add cosmic funk to the cut. With each stage of progression the swirling funky synths envelop the listener more and more, immersing you in their wistful vibrations. A spinetingling break allows space for a short breather before the beats come back in, guiding us to the close.

On the flip we have ‘Fazed’, which kicks off with sturdy breaks and a highly effective, simple melody. The low end is immediately captivating, complementing the melody with a little more complexity. Together, the beats, bass and uncomplicated melody build steadily, with more elements added bringing further depth to the cut. This is one for closing your eyes and really losing yourself in the moment.

Finally, ‘Sub Pressure’ closes out the EP with a dreamy, yet bass-heavy atmosphere. Soft pads glide across the top layer, while a hefty b-line balances things out in the bottom end. Janeret’s exquisite production keeps things progressing with subtle elements creeping in throughout, creating a symphony of electronic sound and vibration. Let the brighter layers tantalise your spirit, while the bass moves your body.

Masterful work from Janeret here, with four versatile tracks designed to move the dancefloor across mind, body and soul. Feel the Vibrations…

As Eerie Enterprise, upsammy and Piezo have funnelled their singular styles into a classic-feeling but ultra-modern album of elegant, angular electronica. With a strong melodic sensibility and a highly developed palette of playful sound design in their toolkit, the unexpected pairing grew spontaneous jams into a considered collaboration, and Places Remember Events is the end result.

Individually, Thessa Torsing and Luca Mucci have carved out strong identities within contemporary electronic music. As upsammy, Torsing has applied a delicate precision to ambient and uptempo approaches alike, building up a striking catalogue of releases including her 2020 LP for Dekmantel, Zoom. Meanwhile, Mucci has taken a wayward path through contemporary bass music and techno that matches edgy sound design with playful unpredictability. As Eerie Enterprise, both artists tap into their respective creative instincts while arriving at a unique sound with a nurturing quality they were both missing from modern dance music.

Having appreciated each other's work for some years, in July 2024 Torsing and Mucci seized an opportunity to carve out two days in the studio. There was no expectation of an end product, but the sketches conceived during those open-ended, hardware-oriented sessions felt worthy of a deeper exploration developed and finalised over the following year-and-a-half.

Places Remember Events has an unapologetically nostalgic streak, calling to mind the warm glow of melodically-charged, golden-era electronica. The twitchy rhythmic make-up of tracks like 'Decay + Collapse' and 'Folding Origin' speak to the duo's shared affinity for ravey energy, but even within faster frameworks they lean into half-time space to maintain a light-footed agility that allows the relatively busy arrangements to feel grounded and patient rather than frantic.

There's an appreciation for mystery in the emotional make-up of many of the tracks, not least in the slithering textural exploration and spatial tension of 'Capsule', but elsewhere fragile melancholia guides the melody direction of 'Superradiance' and 'Things Fall Upwards'. The final impression is crisp and modern while delivering an accessible experience that seeks to soothe rather than shock when so much contemporary club music tips towards uneasy intensity.

Finding malleable approaches to their chosen sonics and applying them to intentional song structures, Eerie Enterprise collectively land on a sound that promises a lasting reward for the repeat voyager — satisfying headphone gear in the grand tradition of introspective electronic music, but also with a physical immediacy that will manifest in the live set upsammy and Piezo have put together to perform later in the year.

For Luca, Cuylan’s new album of elegant modern classical, globally informed folk and gentle electronic music, is in part a tribute to his dearly departed dog. Luca came into Cuylan’s life like a key unlocking a door, leading to experiences and experiments simultaneously new and familiar. Back then the Turkish-born musician was living in LA with his wife, leading a busy creative life, writing and recording scores for films and Netflix series, and suddenly with the adoption of Luca here’s this bouncy, furry being demanding constant attention. Cuylan accepted the responsibility like a father welcoming a child. He grew closer to his wife. He started psychoanalysis. He returned to acoustic guitar, his original instrument, waylaid for 20 years in favor of synthesizers and electronics, pulsing post-rock and skittering jazz. Luca was there in the studio when Cuylan recorded his first solo album, 2021’s No Such Thing As Free Will, which The Guardian said “seems to invent new languages for the guitar.” Without a doubt, Luca the dog made Deniz the musician more expressive and more vulnerable. Better at his craft. Better at his humanity. Luca was just five years old when bone cancer struck. He exited far too quickly, a comet of joy passing into the dark, unfathomable universe. Cuylan found his absence very hard to process–he was just right here! It took a couple years, but inevitably Luca, the catalyst for Cuylan’s current chapter, inspired new artistry after his death–from Cuylan, and from a host of collaborators from around the world who contributed to For Luca. All of them share an abiding compassion for the more-than-human creatures with whom we share this planet–dogs, cats, whales, ants, trees. The entire menagerie, humankind’s kindred. The album is a collective meditation on–and celebration of–their immeasurable essence. It was born not from despair but from a transcendent love that burns all the brighter for its brevity.

Songs of Joy and Peace is a Christmas music album by cellist Yo-Yo Ma, originally released in 2008. The album features collaborations with many other artists, including vocalists Diana Krall & Alison Krauss, James Taylor, Dave Brubeck and Chris Botti.

This holiday disc doesn't exclusively stick to traditional Christmas songs, but covers a wide scope of material in a very ambitious manner. Ma opens with a lovely take of the traditional favorite “Dona Nobis Pacem (Give Us Peace)”, playing both the melody and counterpoint via overdubbing.

Jazz pianist/vocalist Diana Krall is superb in a swinging rendition of Jerome Kern's unjustly obscure "You Couldn't Be Cuter", adding bassist John Clayton. An arrangement of “Joy To The World” features pianist Dave Brubeck and cellist Matt Brubeck (his son). Chris Botti has never sounded better in the warm arrangement of “My Favorite Things”, playing both open and muted trumpet. James Taylor is featured on vocals on the Beatles cover “Here Comes The Sun”.

Barac returns to MAONO Records for the label’s third vinyl release, MAO-V003, delivering another timeless EP. The “Between Past and Present” EP unfolds through Barac’s unmistakable hypnotic sound, joined by a deep and refined remix from Electricano. On the B-side, “One Thing” completes another distinctive chapter in the MAONO catalogue. Three distinct cuts come together to form a carefully balanced record. Limited quantities available. Exclusive colored cover with lacquer finish. 180G Vinyl. Vinyl Only.

New York-based Japanese jazz and electronic music polymath Takuya Nakamura presents his debut album Shape The Future - almost 35 years into his storied musical journey.

An expansive double album, the album’s first LP documents a spellbinding live performance by Nakamura recorded at fabric. A hybrid set combining DJing, live electronics, vocals, and trumpet, the set also features studio versions of special collaborations with Shigeto, Currency Audio and Tim Reaper. The second LP complements the first by assembling studio recordings of select album tracks. Altogether the two volumes make for a definitive display of Nakamura’s exceptional musicianship across jazz, DnB, jungle, broken beat, deep techno and more.

Across his career, Nakamura has played Brazilian music, merengue, salsa and straight-ahead jazz. He’s opened for Sun Ra Arkestra, performed with David Byrne, Laurie Anderson, Lee “Scratch” Perry, Wu-Tang Clan, and Arto Lindsay, appeared on sessions with Terry Riley, ASAP Rocky, Goldie, and TV On The Radio, and remixed the likes of Quincy Jones, Sun Ra, Billie Holiday, and The Streets. He’s also played under director and playwright Robert Wilson.

Although the musical past and present of the Tokyo-born, New York-based DJ and trumpet player is undoubtedly eclectic, Nakamura is abidingly steeped in the sounds of jazz and jungle. This’ll be obvious to casual observers who may have seen any viral videos of him. But there’s more to this. The depth of Nakamura’s engagement with these kinds of music, the way they’ve made him into the person he is, the decades-long path they’ve taken him on; to now arrive at the summit of a solo album is all truly remarkable. Shape The Future resonates with every chapter in this story.

In high school, Nakamura’s friends started listening to jazz and jazz fusion, which piqued his interest, especially when they started going to clubs to see it live, where they managed to see US legends like Sonny Rollins play. Eventually he began to play jazz every day and his musical skill emerged early. He soon became obsessed with getting closer to the source of this music, which led to his studies at the New England Conservatory of Music in Boston with George Russell, an influential figure who had taught Miles Davis and John Coltrane. Nakamura drank it in: not only the technical aspects but the sense of a direct connection to “a music culture where Russell and his friends changed harmony forever. I wanted to know how that was possible!”.

This was a radical experience in itself, but then another revolution happened for Nakamura. He was playing in a venue called The Western Front, near Boston and discovered that the elderly owner had his own soundsystem and was playing what was then - in 1992 - only just becoming known as jungle. This was as freeing a musical revelation as his proximity to the giants of jazz was, and in that instant the two things fused. He understood that using technology to fill a dancehall with sound and a jazz musician’s reflexes are all working to the same ends: “You’re always making decisions,” he says, “but it doesn’t have to be really difficult. It’s the truth of the frequencies, and how they’re affecting people’s minds.”

From that moment on, his life path was set. Moving to New York City, he sought out jungle and its offshoot sounds wherever he could find them, gigging and collaborating relentlessly, and gradually developing his own live and hybrid live/DJ shows. Through regular appearances at New York fixtures Zebulon and CBGBs, and continual shows elsewhere in the city, Nakamura developed his live performance and DJing and it was in these environments that he gradually weaved together his twin loves without compromising either, building an international reputation in the process.

It’s only fitting then that his first album, almost 35 years after he first found his musical direction, should be a live one: a window into this never-ending process. Even here, he had to be persuaded that he should make a record. A member of the fabric team got turned on to his music after their daughter saw him play. Of course, as a jungle lover, Nakamura knew fabric – which has a special place in the history of jungle and drum’n’bass – and “had wanted to play there since I was very young.” You can hear the club in the record: this isn’t just a live show, in keeping with his jungle roots, it’s Nakamura duetting with the soundsystem, and you can feel how the emotions in the room would have ebbed and flowed.

This dynamic translates to a transfixing record. Setting the tone with lushly textured ambient and reverberant jazz, Nakamura segues into cinematic breakbeat and stellar fusion, infusing it all with intoxicating low end and hypnotic rhythms. The LP’s midway point locks into mesmeric percussion heightened by resonant echoes of piano and trumpet. There’s an endless pull to this music. Nakamura adjusts the levels for maximum impact throughout, and the overall effect begins to evoke some harmonious hybrid between a jazz ensemble, a classic Metalheadz 12” and a Theo Parrish DJ set. His electric form continues through surreal jazz, intricate electronics and rolling sub-bass velocity, right up to the subtly devastating final cover of Peter Gabriel and Kate Bush’s ‘Don’t Give Up’, with Nakamura’s fragile vocal sitting in the heart of a huge sound.

From Tokyo jazz nights to formative studies and encounters in Boston to his artistic development in New York, Nakamura reaches another milestone with his monumental debut album. It’s a release that happened just the way a Takuya Nakamura record should. In the same way his instincts led him to musical revelations, taking his own sweet time has led him to make one of the most extraordinary debut albums imaginable, all executed in his own singular style. In Nakamura’s world, the universe finds a way.

Jack Hamill concludes his trilogy of space saga albums with The World Overhead landing on Tiraquon Recordings on October 30, 2026, with a special limited transparent blue edition issued exclusively via Bandcamp from October 16, 2026.

Introducing the science fiction realm of Mikrosector-50 and Mr. 8040 on breakthrough electro funk 12-inch, The Love Quadrant (2009), Hamill signed to R&S Records with the double 12-inch "prequel", The Pathway to Tiraquon6 (2011), setting the stage for debut-album proper Welcome to Mikrosector-50 (2013), where Prince-inspired funk and sleek '80s synth-pop soundtracked Mr. 8040's hazardous journey home via heartbreak and drugs. By Love Beyond the Intersect (2019), Hamill's vocoded opus turned introspective, pairing gentle krautrock influences with themes of love, redemption and self-discovery, mirroring Hamill's personal life, sobriety and creative renewal. Through lockdown Hamill retreated to the countryside around Belfast to reacquaint himself with his machines, experimenting with driving acid and trance, and playing guitar, culminating in a fuzzy shoegaze meets banging IDM sound. Relocating to Amsterdam in 2024 and setting up a new studio, Hamill wrote the third installment of Mr. 8040’s saga, bringing the storyline – and himself – back to earth.

Presenting under the new moniker, Jack Tiraquon, and releasing via his own label, Tiraquon Recordings, The World Overhead is the sound of Hamill removing the guise of Space Dimension Controller and concluding the space-themed concept to move forward as the cinematic hardware musician he's always been at the core.

Priding themselves in having cultivated a community and culture at their club nights, they play some of the best music ever cut to wax. It might not be quite what you’d expect from a typical northern soul night, it isn’t stepping back into the past, it’s the music stepping forward into 21st century.

“We’re not interested in nostalgia – we love soul music because it’s brilliant. It probably still resonates with young people because it has a message of something bigger than what’s inside your own head – that what really matters resides in relationships with other people, not material things. We think that is beautiful” – DNSC.

“Deptford Northern Soul Club have emerged as the new faces of northern soul” – Yuck.

As featured in Alan Byron’s documentary Northern Soul: Still Burning (2026).

“By recontextualising northern soul in a modern context, they empower the genre to continuously evolve, imparting new meaning to younger, perhaps previously unaware audiences” – Pilot magazine

What happens when bassweight electronic beats meet the abstract world of one of the most uncompromising MCs on this planet?

Get ready for a special listening experience as Abu Ama and Sensational take you deep into a world of heavy bass, fractured rhythms, strange frequencies and completely unpredictable flows.

Abu Ama is known for his unique production style, combining Dub, Ambient and Industrial soundscapes with Middle Eastern sound structures. His productions create vast, atmospheric spaces where bass pressure and subtle details constantly collide. Over the years, he has developed his signature sound through releases on forward-thinking labels such as Bokeh Versions and Accidental Meetings. With Ringing In Your Ear, Abu Ama presents some of his most adventurous and forward-thinking productions to date.

On the microphone, we are proud to present a true underground legend straight outta NYC: Sensational.

Born Colin Julius Bobb in Guyana and raised in Brooklyn, Sensational became one of the most distinctive and unpredictable voices to emerge from New York’s experimental hip-hop underground. Originally performing under the name Torture, he was already connected to the Jungle Brothers in the early 1990s before developing the completely unique style that would become synonymous with Sensational.

In 1997, he released his debut album Loaded With Power on the influential Word Sound label. Built from dusty beats, unusual samples and lo-fi textures, the record established Sensational as an artist who seemed to operate completely outside the established rules of Hip Hop.

Over the following decades, he continued to explore the space between underground rap, experimental electronics, noise and abstract music. His long list of collaborators included artists such as Spectre, Kouhei Matsunaga, Kid 606, Cardopusher, Handsome Boy Modeling School and many others. His work with Kouhei Matsunaga was even remixed by Autechre.

Sensational was never interested in fitting into a particular scene. His rhymes were surreal, his flows unpredictable and his approach completely his own. For more than three decades, he remained a true outsider — a cult figure whose music connected underground Hip Hop with some of the strangest and most adventurous corners of experimental music.

After Abu Ama and Sensational’s heavy 2023 single International Rokkaz left us wanting more, the two decided to take things much further. What started as a single collaboration evolved into a full length soundclash.

We were already incredibly hyped about this collaboration from the moment we heard it. But while we were preparing for the release of the single MOZZ, the terrible news reached us: Sensational had passed away.

The news hit hard. It is still difficult to believe that we will never hear a new Sensational verse again.

What makes Ringing In Your Ear even more special is that it captures Sensational doing what he did best — completely free, completely unpredictable and completely himself.

We dedicate this record to Colin Julius Bobb aka Sensational, in loving memory of an extraordinary artist, MC and true underground original.

Rest in power, Sensational.

Finnish-American guitarist Raoul Björkenheim and Norwegian drummer Paal Nilssen-Love join forces on their new album PING, released by We Jazz Records on 30th October on LP, CD and digital formats. Recorded in Helsinki, the album finds the seasoned duo firing on all cylinders and delivering a remarkable set of contemporary free music.

PING brings together nine excursions beyond “guitar + drums” and way beyond “free jazz”. That being said, those are still good touching points for the music that is wild, imaginative, raw, yet also at times delicate and introspective. Friends and collaborators for decades in groups such as the lauded Scorch Trio, Raoul and Paal have the history and the trust to create memorable and original improvised music that stuns and moves the curious listener.

Raoul Björkenheim (b. 1956) is a Finnish-American guitarist and composer who has been creating original music for the past four decades living in New York City and Helsinki, where he is presently based. Describing his on-going work as investigative guitarism, he is best known for an expressionistic and lyrical guitar style. Björkenheim’s eclectic discography numbers 50+ albums, ranging from ambient soundscapes to visceral free jazz, from duo to big band. His large-scale works for symphony orchestra have yet to be recorded, and he has also composed scores for over ten films and dance productions. Björkenheim has collaborated musically with Bill Laswell, Toshinori Kondo, William Parker, Mats Gustafsson, Hamid Drake, Ingebrigt Håker Flaten, Gerald Cleaver, Henry Kaiser, Lukas Ligeti, Morgan Ågren, Paul Schütze, Edward Vesala and Juhani Aaltonen, for the labels ECM, Rune Grammofon, Cuneiform, Tum Records and Long Song records. Björkenheim has been awarded various prizes including the Emma prize for best jazz recording of the year, and been nominated three times for the Nordic Music Award.

Paal Nilssen-Love (b. 1974) is a Norwegian drummer, composer, bandleader, and producer known for his central role in Scandinavian free jazz and improvised music. Since the mid- 1990s, he has appeared on more than 280 albums, including 70 released through his label, PNL Records. He has performed with influential groups including Atomic, The Thing, Peter Brötzmann’s Chicago Tentet, Scorch Trio, and Frode Gjerstad Trio, and collaborates regularly with artists such as, Ken Vandermark, Akira Sakata, Otomo Yoshihide, David Murray, Arto Lindsay and more. Paal Nilssen-Love’s fascination with traditional and experimental music has taken him around the world. Since his first visit to Ethiopia in 2009, he has built strong connections with musicians and artists in Addis Ababa, leading to collaborations, performances, teaching, and artist exchanges with Norway. Since his first trip to Brazil in 2013, he has returned regularly, developing collaborations with artists and musicians across the country. His musical explorations have also brought him to Tsugaru and Aomori in northern Japan, where he has developed an interest in the region’s traditional music. Nilssen-Love is also an active organizer and educator. He started both Oslo’s all-Ears festival, the Blow Out festival and FRAM Kunstfest, and has led workshops internationally and in Norway.

In August 2025, we gathered in Tindafel, a village by the sea in the north of Morocco, with a bunch of instruments our friend Abdou had lent us, along with a few things we brought ourselves.

At the core, Pablo plays gimbri, Miguel plays drums, Juan plays guitar and keyboards, sings and handles the radio transmissions, and Javier sings, plays keyboard and works with digital effects. Loops were created interchangeably by Pablo, Miguel and Javier, while Pablo would often also pick up the guitar or keyboards, with everyone moving between instruments and roles throughout the recording.

Nothing was written beforehand.
 All tracks were improvised and recorded in a single take using a room microphone, so no mixing was possible. 
To this day, as we write this, none of the tracks have been played again — yet!

The album was edited by Pablo and mastered by Tobias.

The cover photograph was taken in the kitchen of the house, the same place where Magic Pony Productions first came together.

The poem on the sleeve was written by Oscar García Sierra.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

Info Deutsch:

Nach „EBM“ aus dem Jahr 2022, einer Zusammenarbeit mit dem Elektronik-Produzenten Benjamin John Power alias Blanck Mass, haben Editors auf „Surface, Echo & Sound“ völlig neue Wege eingeschlagen. Als sich die Band im Sommer 2025 wieder zusammenfand, um an einem Nachfolger zu arbeiten – nachdem die drei vorangegangenen Alben weitgehend als Studio-Projekte geschrieben und aufgenommen worden waren –, hatten die Editors das Bedürfnis, zu einem natürlicheren Ansatz zurückzukehren, der an ihre Anfänge erinnerte: als sie in einem Proberaum in Stafford saßen und sich gegenseitig gegenüberstanden, während sie gemeinsam an den Songs arbeiteten.



Ähnlich wie bei seinem letztjährigen Soloalbum „There is Nothing In The Dark That Isn’t There In The Light“ verfolgte Frontmann Tom Smith auch bei dem neuen Material der Editors einen ähnlich reduzierten, akustikbasierten Ansatz: Er brachte eine Auswahl an Songs zur Band, damit sie diese gemeinsam spielen konnten, probierte verschiedene Dinge aus und schaute, wohin die Reise ging. Was die Entstehung des Albums angeht, „war es ein sehr produktiver Sommer“, sagt Smith. „Die Sonne schien die meiste Zeit, wir waren im grünen Gloucestershire, nicht weit von meinem Wohnort entfernt, in diesem unscheinbaren kleinen Gewerbegebiet – es war so ziemlich das Gegenteil von Berghain!“

„Surface, Echo & Sound“ ist als LP, Ltd. Col.LP CD und digital über Play It Again Sam erhältlich.



Info Englisch:

Following on from 2022’s EBM, a collaboration with electronic producer Benjamin John Power, aka Blanck Mass, on Surface, Echo & Sound, Editors have found themselves somewhere new entirely. When the band regrouped in summer 2025 to work on a follow-up, after three albums written and recorded very much as in-the-studio projects, Editors felt they wanted to go back to a more natural approach, something that harked back to their earliest days, sat in a practice room in Stafford, facing each other as they worked through songs together.



Like on last year’s solo record There is Nothing In The Dark That Isn’t There In The Light, frontman Tom Smith took a similar stripped back, acoustic-based approach to the new Editors material, bringing a selection of songs to the band for them to play together, trying different things out, and seeing where they went. In terms of creating the record, “It was a very productive summer,” says Smith. “The sun was out for the most part, we were in greenest Gloucestershire, not far from where I live, on this innocuous little industrial estate – it was pretty much the opposite of being in Berghain!”



Surface, Echo & Sound is available on LP, Ltd. Col. LP and CD & Digital via Play It Again Sam.

It's hard to pin down the age of chest's music, as it seems to be in a state of constantflux - a fusion of spontaneous energy and timeless electricity. The band didn't choose this name by chance: for years, its members have been breathing music through every pore of their bodies; they bonded amidst the darkness and vibrations of Supersonic, the heart of the independent music scene in Paris, where they met and have all worked. Even before releasing a single record,chest. were spotted by NME,which ranked them among the 100 to follow last year in 2025. A debut EP in February 2025, All Good Things End (Howlin Banana), further boosted the band's credibility and international popularity at breakneck speed. chest. opened for DITZ, Jehnny Beth, Heavy Lungs and KNIVES, who welcomed them with open arms onto a bustling Anglo-Saxon music scene. They're spotted at La Maroquinerie, Rock en Seine, ESNS and across the UK. chest. come of age without ever going through adolescence. In autumn 2025, chest. began recording their debut album at La Frette studio, known for having hosted sessions by Nick Cave and the Arctic Monkeys. The band, with a line-up featuring three sound engineers, self-produced the album there and opened themselves up to new inspirations without, however, straying from the powerful and melodic noise rock of their early days. Their sound becomes even more complex and personalised, revealing perfectly assimilated influences from industrial, techno and shoegaze. chest. embodies the future figurehead of a French rock scene that is no longer afraid of anything. A band capable of bringing people together without compromising their artistic standards.

Yuki Kawamura - a multifaceted producer, songwriter, DJ, and the founder of Tokyo's iconic DJ warmup bar, Shibuya Oiran - presents a highly anticipated 12" vinyl release on her imprint OIRAN MUSIC.

As a globally active selector, her international footprint includes a monthly residency on Romania's Black Rhino Radio, alongside notable appearances on world-renowned platforms like NTS Radio and The Lot Radio.

Back in Tokyo, her venue Shibuya Oiran - featured in Time Out Tokyo's '50 Things to Do in Japan' as a premier spot to "pregame in stylish surroundings" - serves as a vital cultural hub where legendary international and local DJs gather. Its unique musical ecosystem is perfectly reflected in this release, which features a carefully curated selection of popular remixes from her debut album, Love Forever.

Side A delivers Balearic and dancefloor-ready grooves. It opens with 'Ra' a tribute to Sun Ra featuring musicians Watusi and George Kano, a track that has garnered massive support from top DJs including Red Axes...
The A-side also features brilliant Balearic-infused dance remixes by DJ SHIKISAI and XTAL (known for his work with Traks Boys and (((ssurround)))).

Side B shifts the focus to deep ambient and chillout soundscapes. It includes the previously unreleased full version of R.I.P Sunset',featuring an exquisite violin performance by Neko Saito.
The standout on this side is a stunning remix by renowned Japanese producer Calm. This specific remix holds a special history: Yuki debuted it as her opening track during her historic DJ set at the legendary Cafe Del Mar in Ibiza - making her the first Japanese Female DJ to perform there - where it received an incredible response on the floor.

The striking cover art is designed by HAMADARAKA, an acclaimed and rapidly rising female twin artist duo, produced by Nomadic Gallery in Tokyo.

To celebrate the 15th anniversary of the release of the stone-cold classic ‘Want You In My Soul’, Winding Road brings together a group of deep house legends to put their own spins on the Lovebirds feat Stee Downes original.

The Schmoov! remix is a feel-good 80s disco reimagination, cloaking Stee’s soulful vocals in uplifting synths and strings.

The Atjazz remix is a mellow and percussive beauty which has sunshine baked into its very heart. All the quality you’d expect from the master.

On the flip, the dubs – starting with a punchy dancefloor-friendly Kneedeep dub, and closing things off with the beautiful underwater vibes of Lovebirds’ own ‘Ocean Dub’.

(limited red vinyl, including poster / lyric sheet) 'The Way You Talk Reminds Me Of Home' is the second album by Belgian indie band BLUAI. Two years after their warmly received debut 'Save It For Later' and an extensive run of shows across some of Europe's biggest festivals and venues, the three-piece return with their most ambitious and immediate record yet.


Across eleven songs, BLUAI explore what it means to live somewhere between past and present. Conversations with family, friends, partners and people who resurface after years away become starting points for songs about childhood, love, grief, responsibility and the uncertainty of approaching thirty. Rather than a traditional coming-of-age record, 'The Way You Talk Reminds Me Of Home' is about figuring things out while you are already in the middle of them.


Produced by Isabel Gracefield (Adele, Dua Lipa, PJ Harvey, Radiohead...) and recorded at London's legendary RAK Studios, the album was made with a deliberately instinctive approach.


BLUAI much as they sound on stage: raw, direct and closely connected.

This is Timmy Stewart & Jordan Nocturne's debut single together as TNI, a raucous percussive club weapon designed by The Night Institute residents to reflect the pair's shared history & energy as DJs.

First up on remix duties is Shit Robot. The Dublin-born, DFA mainstay cranks the energy right up, driving things further forward with punchy drums and bright insistent synths built for the peak of the night.
Irish collective LA Dysto have been on a roll recently, with their unique brand of chugged-out electronics. Here they get psychedelic, dubbing out the vox and adding a driving hypnotic bassline,
The finale belongs to fellow Belfast artist Viper Patrol, who strips the track back to its bare bones and heads off on a tripped out breakbeat mission with even more middle-eastern twists.

A full Irish with eastern promise!

The word classic is a much overused one, but in the case of this much in demand 1999 four tracker, it's no exaggeration. There has been much conjecture over the years over the identity of the producer - or producers - behind the mysterious Clint Foster name, but our lips are sealed, we ain't no grasses. All we will say if you like your techno seriously laced with acid, tough and sinewy but equally funky then then you'll love this. Opener 'Indium' is pinned down by machinefunk handclaps, a gloopy bassline and a synth line that coasts pretty majetsically. 'Patterns' is faster, harder and dubbier, not a million miles in its rhythmic shuffle from Carl Craig's 'My Machines', while 'Throughway' is the truly hypnotic one, big on the atmospheric scale. 'Afterdark' closes things, airy synths swelling and hovering over an addictively chunky beat. No names, no packdrill, just four essentially fantastic bits of classsy techno that haven't dated in all the years since. Essential.

In C is a musical piece by the composer and performing musician Terry Riley. As one of the first minimalist compositions, it was a response to the modern music that dominated the scene in 1968. It is considered a masterpiece in the genre and served as an inspiration for many composers, classical and otherwise.

The pieces consist of repeating cells and different rhythms, loosely based on the musical structures he had heard and loved in north African music. In total, the compositions consist of 53 short musical phrases. The thing that makes In C so enduring, is that once all its conceptual ideas are stripped away, it's a seriously hypnotic piece of music, full of energy.

REPRESS of the Scorpion Child debut album. "Scorpion Child sound like a band who aren't willing to make concessions, nor to strive for some niche appeal. They want the heaviness, the fire and the speed but they aren't willing to sacrifice a good hook for it, and nor should they. Already, they are showing that they are more than adept at handling this fine balance while delivering the goods, and perhaps this is the most 70s thing about them. It was a time when even major rock bands played with prog, psychedelia, funk and blues, something lost when the 80s and hair metal came around, and this Texan quintet carry this torch proudly." - Sleeping Shaman

Cruise Music really does what it says on the tin - serve up the sort of grooves that are easy to slip into a ride along with, especially when the sun is out and the mood gets a little more playful than usual. Their 16th edition of this long-running series is another super fly collection of effective groove and classic house attitude. Makito opens with the funky licks and disco colour of 'Jailhouse Funk' while Mark Funk, Danny Cruz pull back and allow plenty of sunshine and jazzy sax warmth into 'The Vibe.' On the flip, Bonetti gets remixed by Vertigini for some filter-driven and dusty house goodness and Raffaele Ciavolino & FederFunk bring a little Latin heat and percussive texture. Classy stuff.

Blue vinyl, limited to 250 copies. "Scorpion Child sound like a band who aren't willing to make concessions, nor to strive for some niche appeal. They want the heaviness, the fire and the speed but they aren't willing to sacrifice a good hook for it, and nor should they. Already, they are showing that they are more than adept at handling this fine balance while delivering the goods, and perhaps this is the most 70s thing about them. It was a time when even major rock bands played with prog, psychedelia, funk and blues, something lost when the 80s and hair metal came around, and this Texan quintet carry this torch proudly." - Sleeping Shaman

Zweite Auflage 2026 -Ein PUNK-ROCK-MEISTERWERK neu aufgelegt - mit, aus aktuellem Anlass, aktualisiertem 2026 Cover-Artwork, Vinylfarbe Starlight Yellow! Das erste Studioalbum von NOFX auf Fat! Die Band behandelte ernste Themen (Punk-Kultur und Politik) mit ihrem typischen Witz und Sarkasmus und zielte auf George W. Bush. Nun ist ein neuer Clown am Start! Damals (2003) schaffte es das Album sowohl in Großbritannien als auch in den USA in die Top 50 und war auch auf dem europäischen Festland erfolgreich, wo es in der Schweiz und in Deutschland die Top 30 erreichte, in Österreich die Top 50 und in Frankreich die Top 100. "Musically, NOFX fuses its political cynicism with criticism of punk rock itself and suggests that the best thing for all the kids and the bands might be to close ranks and start their own little hardcore community. 'Irrationality of Rationality' and 'Franco Un-American'_two of the album's most melodic, catchy songs_are also two of War on Errorism's most biting commentaries. The first personalizes the trickle-down effect of corporate decision-making over a lockstep hardcore rhythm; the second gets all-new wavy as Fat Mike reasons out his own world view, and somehow rhymes "apathy" with "Noam Chomsky.'" - NOFX hat sich zwar aufgelöst, aber das Vermächtnis lebt weiter. Die Band ist derzeit Gegenstand ihrer ersten umfassenden Ausstellung im Punk Rock Museum in Las Vegas. Die Dokumentation "40 Years of Fuckin Upmakes" feiert beim SXSW 2026 Premiere und ist ab April umfassend zu sehen (Score & Original Soundtrack mit neuer Musik von NOFX folgen in Kürze). Der zweite Teil der A-Z-Raritäten-Trilogie "I to Q" soll Ende 2026 erscheinen. Und behaltet Fat Mike im Auge, denn Gerüchten zufolge hat er eine eigene Meinung zur aktuellen Weltlage. Warning: owning this record might piss off (more than ever) your army recruiter, grizzled grampa, or those wacky flag-wavin' nationalist buddies of yours.

For the first time ever, Michael Jackson’s ‘Thriller’ is available on red & black marble vinyl, celebrating the world’s biggest-selling album and the first album to be certified triple Diamond by the RIAA. Released in 1982, Thriller changed pop music forever, featuring seven U.S. Top 10 hits including “Billie Jean,” “Beat It” and “Thriller,” and helped Michael win a record-setting eight Grammy Awards in one night.

“Everybody wants the map, but the correct one is not coming. This is understood, somewhere below language, by everyone who wants a map anyway. Meanwhile the map dealers, those slick druids and wizards, goddamn sell-outs, will try to seduce you with one. Don't buy from them. Their maps only show burned black fields.

What passes instead between the ones still walking is smaller and does not require a subscription. A sign. Nailed to a fencepost, or to an unexpected streetlight surrounded by darkness. Left by someone who was thirsty on this road back when you were only a rumor. It says one thing: water, this way.

So leave signs. Just mark the water you found and move along. It is one of the oldest customs - strangers keeping each other alive and hydrated on a long road.”

For the first time ever, Michael Jackson’s ‘Thriller’ is available on red & black marble vinyl, celebrating the world’s biggest-selling album and the first album to be certified triple Diamond by the RIAA. Released in 1982, Thriller changed pop music forever, featuring seven U.S. Top 10 hits including “Billie Jean,” “Beat It” and “Thriller,” and helped Michael win a record-setting eight Grammy Awards in one night.

Norwegian instrumental art/prog/post-rock quintet The Samuel Jackson Five return with their first full length album in nearly a decade, "A Passage to Elsewhere", it's their most expansive and exploratory work to date, and the first release in collaboration with Norwegian label Karisma Records. Drawing from Kosmische Musik, '70's progressive rock, vintage library music, the jazz-inflected post-rock of Chicago and Toronto, imaginary folk, and experimental electronica, the result is a rich sonic tapestry. Rather than building towards predictable crescendos, "A Passage to Elsewhere" unfolds as an adventurous evershifting melodic journey, inviting the listener deeper in with each turn.

Stockholm house mainstays Ari Bald & CJ Scott return to Studio Barnhus with Colombiance, their fourth EP for the label and another generous serving of homegrown dance music from two of our most dependable suppliers.
“Trippin’ Totems” opens in suggestive, hypnotic mode, rolling forward on layers of percussion and a groove that seems to tighten the longer it runs. “Coral Capers” brings the piano to the party, bright and buoyant on the surface with just enough melancholia underneath to keep things interesting.
“Mole Patrol” picks up the pace considerably, a chugging and increasingly intense workout built for peak-time deployment, before “Baobab Bonanza” closes proceedings in more spacious fashion, with great waves of sound washing in and out over a floaty, rolling house groove.
Another intriguing chapter in an increasingly distinctive Stockholm house story, out October 30 on 12'' vinyl and digital platforms, with lovely artwork by Eliot Axelsson.

'AMEN is a word that moves between the sacred and the ordinary, across languages and cultures. An ancient, universal expression, born in prayer yet living beyond it - in daily life, especially in the Italian language, where it has become part of ordinary speech, used to accept, conclude, affirm, and let things be.
'The sixth release on e s p e r p e n t o opens a gateway into a timeless, transcultural dimension through a continuous, immersive sonic flow. While conceived as an intimate listening journey, this record emerged from a shared experience within the walls of Frequenze Studio (Monza). ESPER006 is the result of a three-hour improvised live session that brought together experimental music trio MYS and London-based producer Big Hands.'

Musique Pour La Danse presents a raw, euphoric, and totally essential document of British rave history. LIVE IN MANCHESTER captures like nothing else the pure energy and essence of an era.

Featuring the unstoppable duo Mark Franklin and Nigel Champion, and vocalist Saffron, this legendary 1992 live set delivers iconic tracks like "Anthem", "Adrenaline", and "Malfunction" in their most ecstatic form and many exclusive tracks.
Often copied and sampled, never surpassed, because it simply can't be. If you're only owning one rave record, this is the one.

Includes liner notes by Matt Anniss, re-designed in Büro Destruct with an historical collectible flyers poster 12"x36", with the help of Phatmedia.
Newly mastered and cut at Transition Studios for maximum impact. Simply the best thing for your warehouse soundsystem.

Listen to the full recording

"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!

"Baby put that cheecky dress on_get your feet on the ground, shake your hips to the sound! We're dancing to the music!"_of THE MODBIRDS! Ladies & Gentleman, die Tanzfläche ist freigegeben! Spotlights an, Boxen auf Anschlag aufgedreht bis die rotierende Discokugel in 1000 Scherben zersplittert - hier kommt "Shards", der erste Longplayer der Modbirds. Einen berauschenderen Cocktail mit allerfeinsten musikalischen Zutaten wirst Du an keiner Theke finden! Der abwechslungsreiche Mix aus Ska, Soul, Reggae, Rocksteady, einer kleinen Prise Punk bis hin zu Swing und klassischen Big Band Elementen macht süchtig und vereint alles was Birdies, Rudeboys und sonstige Nachtschwärmer lieben werden. Nach ihrer Mini-LP "Spin it to win it" hat die 7-köpfige Big Band mit u.a. ehemaligen Mitglieder von The Porters und Los Placebos im Music Area Studio bei ihrem ehemaligen Bandkollegen Beagle 12 neue Songs aufgenommen und all ihre musikalischen Einflüsse und Vorlieben darin einfließen lassen. Ob Jamaica-Roots, Ausflüge in verschiedenen Waves of Ska-Äras, den typischen UK-2 Tone Sound nach Art von Madness bis Buster Shuffle oder eine einfach nur Spaß machende Reminiszenz an all die deutschen Ska-Bands von El Bosso bis Frau Doktor (mit dem einzig deutschsprachigen Song "Jogger"): Mit jeder Note und Takt merkt man diesem Album an: Die Modbirds leben und lieben diese Subkultur seit Jahrzehnten und kreieren daraus ihren eigenen Sound! Die 180g Vinyl-Edition kommt im Gatefold in klassisch schwarz oder silber mit mehrfarbigem Splatter. Limitiert auf insgesamt nur 300 Exemplare!

Recut and repressed

Every now and then, there are tracks that stand the test of time. Tracks that are more than just another DJ-tool. Tracks to remember. When „Fom Within“ was released 13 years ago. the track found its way into almost every DJ-Case that summer, and to this day, people playit out at special moments. When Gregor Tresher started to mix Celeda´s „Music Is the Answer“ Acapella over it, inofficial remixes popped up everywhere. We decided to actually never release that version, as we believe some things should be in the DJ´s hands, as there´s nothing quite magic as if a DJ-Mix creates something new. We are happy to give to you an official repress of one of the strongest tracks from our label´s history. Play it out and let it work it´s magic.

Introducing the first in a series of reworks on GAMM from Macedonia's finest curator of urban music, DJ Goce...

Deeply rooted in hip-hop, Goce has a worldwide rep for exploring all things funky, soulful, and jazzy, releasing tracks on labels like Dusty Donuts and Baller Beats.

For his GAMM debut, he tackles a classic Beatnuts anthem, complete with a wild intro using the original sample source.
On the B, Goce keeps the momentum going with a rework of an Al Hirt rare groove classic, famously sampled by De La Soul and The Roots.

Keep an eye out - there is plenty more to come from DJ Goce on GAMM !

Jensen Interceptor debuts on Mesh with Primal Transmissions, an EP of five new genre mutations out Friday 25th September.

Moving through a spectrum of tempos - from smoked out slow burn to tightly wound club pressure - Jensen has a tweak for every BPM. Returning to a more raw, instinctive sound, but never losing sight of his flair for dense rhythmic compositions, the EP explores a moment of reconnection, and a shedding of inherited expectations.

‘False Oracles’ opens with a euphoric downtempo drift, setting the tone with microscopic rhythmic detailing and chugging percussion. ‘Fail to Call’ leads with a grimey bassline and frantic hammerdrill drums that gradually desync into chopped up fragments. ‘What Would Susan Do’ is a double dose of chaos, landing somewhere between dancehall, psytrance, and DnB, but firmly rooted on a planet of its own. ‘Tone Impress’ leans heavier into the industrial, chopping vocals over rolling hits at 160BPM. Rounding things off, ‘Emerald Web’ breaks the rhythms down to their rawest forms for one final workout.

Through a process of rupture and renewal, Primal Transmissions arrives as a sharp dispatch of club mechanics from one of the scene’s most inventive operators.

With a string of singles and remixes plus an incredibile debut album under their belt, Musclecars have quickly become a creative force in the last few years.

Their originality and fresh musical approach it's eloquent in this debut EP for Neroli. Here they combine the futuristic afro-electronic suite 'Black Planet' with the liquid space-funk of 'Euphoria' until landing in sweet beatless territories with the "Cosmic' version of the title track!

A mature and uncompromising offering, a glimpse of things to come...

Das zweite Album der "Colors"-Trilogie! Der aufstrebende Metal(core)- und Alternative-Künstler hält seine über 2 Millionen TikTok-Follower in Atem. Arankai stammt aus Wisconsin (USA) und trat erstmals 2022 mit einer Reihe von Independent-Veröffentlichungen in Erscheinung. Durch die Kombination von Elementen aus Metal, Alternative Rock und emotionalem Storytelling baute er sich dank seines rohen Sounds und seiner markanten Präsenz in den sozialen Medien schnell eine treue Fangemeinde auf. Nach der "The Portrait Tour" im Mai und Juni 2026 - seiner ersten Headliner-Tournee, die mehrere ausverkaufte Shows in den USA umfasste - wird Arankai ausgewählte Headliner-Konzerte in Europa spielen (darunter einen Auftritt beim Reeperbahn Festival). Anschließend nimmt er diesen Schwung mit ins Frühjahr 2027, wenn er gemeinsam mit Melrose Avenue als Support-Act durch Europa tourt. Arankai in his own words: ""The Shape of Blue", like its predecessor "A Portrait of Red," covers a range of human experiences: rebellion, pride, sacrifice, to name a few that stick out. I tend to draw from personal experiences, but with this particular record I found myself writing songs that reflected specific situations involving other people; sometimes I wasn't even a part of those situations, it was just a powerful moment I found inspiring. I really wanted this record to be something special. I did a lot of things I haven't done before, wrote songs in styles that were new to me; I really wanted to give people a new, exciting experience. I believe "The Shape of Blue", as an album, is a strong, emotive piece. And I hope people enjoy it as much as I loved making it."

Fred Peterkin releases a lot of music but rarely hands his work over to other artists to remix. This EP, which sees a trio of artists deliver their interpretation of the Berlin-based New Yorker's strings-and-piano-drenched 2023 deep house number 'Someone', is therefore an interesting development. He kicks things off with his own smooth, bass-heavy 2026 'Interpretation', an even deeper and more sensual take that blends dancefloor weight with light-touch jazziness, before Juliet Mendoza takes over with a more locked-in interpretation smothered in warming Rhodes motifs and snippets of soulful, eyes-closed vocal. Dave Aju's take is more weighty, psychedelic and propulsive, while Korea Town's 'Acid' interpretation is darker, faster, tougher and altogether more thickset - the kind of revision tailor-made for peak-time moments in dark basement clubs.

A Six track mini cover album featuring covers of: Raw Power , Slaughter. Pentagram, Repulsion, Death, Dead Kennedys.

These tracks are designed to expose people to hugely influential underground Music.

Includes original sleeve notes by Steven 'Seething' Wells
Limited Edition Pink Vinyl.


Quotes:
Fabulously Ugly – Dave Ling
The Only thing you can count on in life is Birth , Taxes and Napalm Death – Morat