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2021 was a milestone year for Jimpster and the label he founded with Tom Roberts back in 1996. It was never going to be plain sailing all the way but their passion for discovering, making, and releasing the music they love saw them pushing into their 25th year with more enthusiasm and determination than ever before. Now, 30 years in, we dive back, headfirst into the deepness of his Soul Spectral EP.

Originally released in 2023, this highly sought-after release finally gets its much-needed repress in 2026. Original copies are already exchanging hands on Discogs for £50+, so make sure you grab this while you can — before the Discogs sharks get their grubby mitts on it!

Two Cold, a name synonymous with the number two and of course, ice cold beats. Even though the London based brothers haven’t actually released any music yet, their coming has been foretold by a growing chill that has permeated the dance music stratosphere.

Legs beginning to quiver and shake? That’s Two Cold.

Hips involuntarily gyrating in an attempt to stay warm? Two Cold.

Jaw chattering like maracas? It’s those frosty boys, you’d better believe it.

If you like your dance music to take you on a psychedelic journey through time and space, the DESERT LEATHER EP is for you.Winding passages that explore breaks, bleeps, bass and beyond. Genre defying influences snatched from every dimension of the dance diaspora.

Inescapable body-rocking beats that echo through your very bones so hard that even your ancestors have a boogie.

The DESERT LEATHER EP will expand your mind to the very edge of the horizon, where earth and sky meet and where all laws of nature are meaningless.

Two lads
Wicked beats
Original styles

Clever boys
Original styles… wait I said that already
Lots of bass
Delightful melodies

Two - as in there are two of them

Cold - as in their beats are ice cold

Packaging: 1 X Black 140 grs vinyl, gatefold sleeve reversed board, black dust inner sleeve, marketing sticker, marketing sticker

- Alewya's acclaimed debut album Zero - digitally released June 2026, establishing her as one of the UK's most distinctive voices in alternative music
- Ethiopian-Egyptian heritage meets London's underground, blending electronic, R&B, percussive and experimental influences into a distinctive sound and visual world.
- A deeply artist-led record, developed over three years and built around themes of identity, instinct, freedom and self-discovery.
- Physical release November 27th :

c. LP Black

Packaging: 1 X Black 140 grs vinyl, gatefold sleeve reversed board, black dust inner sleeve, marketing sticker, marketing sticker

- Alewya's acclaimed debut album Zero - digitally released June 2026, establishing her as one of the UK's most distinctive voices in alternative music
- Ethiopian-Egyptian heritage meets London's underground, blending electronic, R&B, percussive and experimental influences into a distinctive sound and visual world.
- A deeply artist-led record, developed over three years and built around themes of identity, instinct, freedom and self-discovery.
- Physical release November 27th :

c. LP Black

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

DJ Support: Glenn Underground, Crazy P, Terry Farley, Aroop Roy, Chris Coco, Frank Tope, Greg Wilson, Dom Servini, Francois K, Max Essa, Oliver Dollar, Pete Herbert and many more

Danny Ward’s Balaphonic project, one of many the long-serving performer, producer, percussionist, drummer and DJ has utilised over a career spanning over three decades, has evolved considerably since his first release under the alias 11 years ago. Conceived as a platform to explore his love of Afro-Cuban and Brazilian musical culture, it gathered new impetus during lockdown and the recording of superb first album Resolution Revolutions, which fused these influences with nods to Balearica, dub, dancehall and deep house.

On the Organic Matters EP, Ward’s follow-up to that critically acclaimed set, the Balaphonic musical universe has expanded once more, with the Manchester native showcasing a wealth of eye-catching collaborations and an even more intricately layered and sonically detailed sound rich in live percussion and instrumentation. It’s an ambitious and widescreen musical vision wrapped in sun-soaked melodies, morning-fresh motifs and simmering, sunset-friendly soundscapes.

The dizzying new heights scaled by Ward on Organic Matters is evident from the opening bars of ‘Dew Drops’, a piece created in unison with internationally renowned composer and arranger Robin Dewhirst. Between them, the pair have conjured up a yearning, life-affirming samba shuffler where picturesque piano, xylophone and balafon melodies rise above Ward’s dense, layered Latin percussion and warming bass.

Next, Ward delivers a thrillingly different take on his 2005 composition ‘Switch’, featuring legendary Brazilian jazz vocalist Flora Purim and her equally talented daughter Diana Moreira Booker. Whereas that was a jazzy deep house workout, Ward’s Balaphonic re-make is a shuffling, gentle exploration in 7/4 time – a heartfelt tribute to the Brazilian records with which Purim first made her name in the 1960s and ‘70s.

‘Balaventurers’ sees Ward join forces with an old friend from the North-West scene, R.S.L founder Joe Botham AKA Baleardelica – a multi-instrumentalist and producer whose Flamenco-inspired acoustic guitar motifs provided the starting point for another vividly colourful exploration rich in layered vocalisations, twinkling keys and impeccably arranged percussion.

It’s followed by ‘Life of Strings’, a more up-tempo and dancefloor-leaning excursion written and recorded alongside Amsterdam-based violinist, and composer Katya Gabeli. While Ward’s percussion-rich groove provides propulsion and a rock-solid foundation, it’s Gabeli’s evocative string arrangement that provides the focal point and emotional resonance. It’s a genuinely brilliant collaboration.

To round off a second stunning Balaphonic release on NuNorthern Soul, Ward delivers two simmering, slow-motion delights: the Afro-Cuban rhythms, cascading melodies and melodic percussion motifs of ‘Boxfresh’, and stunning EP closer ‘Home’ – an almost overwhelmingly poignant and beautiful number that gently ebbs and flows on waves of tracked piano, dreamy chords and a comforting sense of closure. It’s a genuinely sublime conclusion to another wonderful Balaphonic release.

Magazine Announces 15th Anniversary Remaster of Barnt’s Techno Classic Geffen

Cologne-based record label Magazine celebrates the 15th anniversary of Barnt’s visionary anthem Geffen. One of electronic music's most defining tracks of the 2010s will be reissued in a 2026 remaster edition, marking the first time it receives its own dedicated standalone release.

Originally published on the legendary Cómeme imprint as part of the Various Artists EP The Power Of Now, the track rapidly became a global phenomenon. Looking back, one can hardly imagine Geffen without the 2010s, or, conversely, maybe even electronic music of that era without it. The composition mirrors the expressive possibilities of bedroom producers at the beginning of that decade—an era where artists could launch tracks into the world and have them resonate through their sheer sonic power, without major marketing efforts.

Barnt remembers: "It was one of my earliest tracks. I had just entered art school and didn't own much equipment. My MIDI keyboard only had two octaves. I would always play notes with my right hand while simultaneously shifting through the octaves with my left. This is how the hook line came to life. The production only consisted of seven or eight stems, and barely any equalizers were used during the mixdown. In hindsight, this sparse approach to production probably made it sound different and is why it hits so hard on big sound systems (while sounding unfinished to some on YouTube). At that time, we were doing a small festival on a playground in the center of Cologne. When I played the CDR there, Matias Aguayo demanded it right after. That is how it ended up on Cómeme."

The release comes with two very Magazine-esque reinterpretations from the label's two other co-founders alongside Barnt: a powerful atmospheric club remix by Jens-Uwe Beyer, and Magazine Hallucination, a wild, collaborative, psychedelic mutation by Crato and Beyer.

Jörg Burger, who already mastered the original track, is also responsible for the mastering of this release.

Diese Doppel-Vinyl-Compilation lädt ein in die warme, entspannte Welt des Lo-Fi-Sounds - eine Musik, die entschleunigt, Atmosphäre schafft und Nähe erzeugt. Versammelt sind prägende Künstler des Genres, die Lo-Fi, Downtempo, Jazz-Einflüsse und elektronische Gelassenheit miteinander verbinden. Mit Beiträgen von FKJ, Darius, Kid Loco, St Germain, The Mighty Bop, DJ Cam, DJ Spinna und weiteren wichtigen Namen entsteht ein vielschichtiges Panorama zwischen organischen Grooves, sanften Beats und subtilen Melodien. Die Auswahl richtet sich gleichermaßen an langjährige Liebhaber wie an neue Hörer, die Lo-Fi als eigenständige, zeitlose Form elektronischer Musik entdecken möchten. Ein stimmiger, sorgfältig kuratierter Sampler für entspannte Hörsituationen, stilbewusste Sets und alle, die elektronische Musik lieber fühlen als konsumieren. ENGThis double-vinyl compilation invites listeners into the warm, comforting world of lo-fi music - a sound defined by relaxed rhythms, organic textures and understated emotion. Featuring leading artists of the genre, the collection blends downtempo beats, jazz influences and laid-back electronic production. With tracks by FKJ, Darius, Kid Loco, St Germain, The Mighty Bop, DJ Cam, DJ Spinna and others, the album offers a broad yet coherent overview of lo-fi aesthetics. It appeals both to seasoned listeners and newcomers seeking a timeless, atmosphere-driven listening experience. A carefully curated selection designed for calm moments, focused listening and stylish musical environments

There are two version of the LP - limited to 100 numbered copies with transparent wax and classic black wax edition. Both 180g with special OBI strip.

Maciej Envee Goliński is an artist who probably needs no introduction. He has been working with U Know Me practically since the label's inception. His last album ("Time & Light") made a huge impact worldwide, but we had to wait eight years for the next vinyl release. In the meantime, Maciej has certainly been busy – he has released numerous club singles under several aliases, and has helped record and mix numerous albums from the world of jazz, soul, and electronica. "Wyszymory" is a carefully crafted concept album, inspired by our roots. "Wyszymory" is an album on which every open-minded listener will find something that has been playing in their soul for a long time...


"Of all things visible and invisible, my life is most filled with music and a fascination with sound. It matters not whether they are natural or artificial, isolated or resonating through space. Sounds that evoke
memories, as well as those entirely new. Some of them have resonated unchanged for thousands of years. Certain resonances and rhythms have remained unaltered for generations so distant that they have left no other trace in human civilization.

This bond with our ancestors truly fascinates me. Ever since I realized it, I have become more attuned to inspiration. Listening to traditional and classical music, I kept finding new anchor points. I was constantly surprised by new invitations to ponder what connects – or divides – the pulse of our region’s traditional music with the rhythms of Africa, the tribes of the vast East, or the frozen North. My great authority, Tomasz Stańko, in interviews conducted by Tomek Michałowski, used beautiful parables of love and creativity to bring me closer to the ­Cro-Magnon cave artists. The Icelandic literary magician Andri Snær ­Magnason, in his book On Time and Water, captivated me with the fascinating observation that through emotional contact, words, ideas, or memory, we reach back and forward two or even three generations – spanning a period of about 270 years. Then there is Sam Kowalski, who with his wonderful obereks played on the gitalele, took me on a hypnotic journey, from which one returns with a deep admiration for the art of musical storytelling, passed down from generation to generation. Finally, my own children surprise me with talents, behaviors, and increasingly distinct features of those generations that now dwell only in my hazy memory and on old photographs.

I wanted the protagonists of this album to be the very phenomena that modern humans share with their ancestors, ­regardless of the level of civilization. Most vital among them is the relationship between humans, nature, and their own emotions. Wyszymory has nothing to do with an academic study, though I did delve into Slavic mythology, archaeology, and history in search of inspiration. Nor is it an album of traditional music, even if such music is present thanks to wonderful instrumentalists. I managed to invite artists who cross boundaries daily, working not only with Polish music but also with Hindu and African traditions, and even jazz, with its long history of blending influences. Naturally, the album became a kind of sonic comic book, where individual scenes and stories – the sounds, pulsations, and ideas on how to use them – came to me over time, often under unique circumstances and in inspiring contexts."
Envee

This release is a homage to the Turbo label.

Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.

Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."

The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.

Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.

"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as

"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.

The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.

Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.

Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?

The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.

Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.

So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.

ANORAX is grateful to have the opportunity to present this very special Soul selection.

Classy Frenchman Franck Roger is one of the most consistent performers in the deep house game and he is back with another MVP performance on Seasons Limited this Autumn. This all-new trio of tunes opens with a delightfully airy, light-footed blend of Afro drum patterns and buffed metal melodies that have a lovely late-night glow to them. It's a persuasive rhythm that will infect your hips in no time, while 'Circulation' is more humid and bouncy, with nods to the deep and smoky foundations of house but still one foot in the here and now. 'Feel Free' closes with an elastic groove and the sort of introspective melodies that mean more than most throwaway synth lines in the modern scene. Tasteful and timeless as always from Roger.

Abacus back in full effect — “The Earthly Pleasures” EP, a deep house gem celebrating 30 years since its original 1996 drop on 83 West.
Jazz-infused grooves, soulful rhythms, timeless vibes — this one still hits heavy.
A true classic from the Abacus catalog, reissued for the heads who know.
Pure deepness, no filler — essential wax.

Feedbacks:

Harri (Sub Club) : nice, will play and support
Hector Romero (Def Mix) : Proper deepness on Sunray - still sounds fresh! and the Bassline on Phonogrammeis a killer. Love it. H
Geir Aspenes (G-Ha (Sunkissed)) : Thank u
Pacific Coliseum (Dublab, Teen Daze, Noire & Blanche) : Moonbeamz is the jam for me; still sounds fresh all these years later!
Fred P : Nice..
Mr. V (Sole Channel Music / Strictly Rhythm / Salter Music / Defected) : Pure dopeness Thanks
Mark Farina : classic! nice.
Jimpster (Freerange) : Abacus doing what he does best and bringing the deep heaters! Loving all three tracks here.
Laurent Garnier : very elegant EP
Lea Lisa (Phonica Records / Folklor Club) : Play them since day one, good to repress for the new generation. Essential
Anthony Collins (Frank & Tony / Scissor & Thread) : great record
Franck Roger (Real Tone Records) : What a greta news to repress this old classic
Prosumer : 30 years later still hot AF
Red Eye (Crash Planet Rec, R.E.A.D., Red/Shift, Lavish Habits, Multipass) : Moonbeamz still out here holding its own!!!!
Felix Dickinson (Futureboogie, Rush Hour, Cynic) : Used to play Moonbeamz a lot when it first came out, nice to have the digis.
DJ Bone (FURTHER) : Crazy Hazy Days is really nice
Terry Farley : sunrays a legend
Antal (Rush Hour) : nice!!
Carista : love this thanks

IT is celebrating the Detroit - Bristol connection with the "Magenta Glow EP" from Hodge. This began with Hodge playing for IT in Detroit, first at Return to the Source, and then at a spring party at Tangent, where he was so inspired by what he saw that he began composing music for these environments. It quickly expanded to a number of songs, each to be carefully mixed from their stems by BMG in the Interdimensional Laboratory on hardware to give the record the largest and most solid sonic footprint it could have, using the same process as the recent Andy Toth record and Alchemical Sisters album. Each song is unique, yet each is so strong it could be its own single. Science fiction themes are highlighted with "Magenta Glow" referencing Philip K. Dick, and "Oankali" being named after entities from Lilith's Brood by Octavia E. Butler.

"ASSEMBLE MUSIC 15 YEARS - Part III : Founded in Lisbon in 2011, Assemble Music celebrates its 15th anniversary with a three-part vinyl compilation, bringing together fifteen artists who, in different ways, reflect the label's past, present and future. Released simultaneously in November 2026 and distributed worldwide by Clone Distribution, the three records are less a retrospective than a continuation of what Assemble has been building since the beginning: music with character, made by artists with their own language, away from trends and easy categorisation. Across fifteen years, Assemble has moved freely between house, techno, electro, dub and more experimental forms of electronic music. The catalogue has never been defined by one particular sound, but rather by a certain approach, personal, uncompromising and built to last. Part III brings together another five artists particularly close to Assemble's musical universe. Lowtec has spent decades developing one of the most distinctive languages in European house and techno, both through his own productions and his own label Workshop. His music shares something fundamental with Assemble, restraint, depth and an unwillingness to follow obvious paths and thats exactly what he delivers with "Dutch Angle" exploring the more ambient and abstract side of house. Welsh modular artist Steevio, co-founder of Freerotation, approaches electronic music through improvisation and live interaction with machines. His contribution to the compilation reflects the human, unpredictable side of electronic music that has always fascinated the label. Reedale Rise returns after becoming an important part of Assemble's recent chapter. Moving naturally between electro, techno and house, his music combines precision with an unmistakable melodic and emotional quality. With his track he explores a slightly darker path here, with deeper, more shadowy melodies revealing a different side of his distinctive sound. Lerosa's "Love Money" and Vera's "Take Me" are two very special tracks in our back catalogue, and we felt it was time to bring them back to life for our 15th anniversary. Vera was one of the first artists to collaborate with Assemble, with Lerosa joining not long after. Over the years, both have become an important part of the label's story, through releases, many shared showcases, and above all, a great friendship that has grown along the way."

Midmorning on a beautiful sunny Sunday in 2011 in the heart of Tokyo, where frenetic and otherworldly Shibuya meets softer, sleeker Aoyama, Portland Oregon-based producer/performer/DJ Conoley Ospovat walked into Seco Bar and was met by a major party in progress. Eddie C was the only person on the lineup, and had already been on the decks for hours. Conoley caught the immense end of the ride, and was then introduced to Eddie by a mutual friend.

A few more encounters in Japan followed, and then the two of them moved to Berlin - arriving nearly simultaneously - where they continued to hang out at gigs and in more casual settings in that fabled and demanding city. Eddie was a source of tips and inspiration for Conoley, and the musical and personal connection was strong.

Fast-forward 10 years, and both are inhabitants of the verdant Pacific Northwest. It is there that their Rain/Sky collaboration was born.
Lindsey Flowers, Conoley's dear friend and long-time collaborator, lends her words and sweet voice on Rain/Sky...

Rain/Sky
Celestial shimmer, liquid light
Falling to nourish and cleanse
Lifted, grounded
Cool green energy and feeling
Between now and then.
Dedicated to Tetsuyoshi 'Sisi' Kisisita

2026 Repress

The twelfth release on Early Morning is a collaboration between Fauxplay and Anthony Pappa, two producers whose shared roots in progressive house give the record its coherent, unhurried identity. Four tracks, nearly thirty minutes, built around a single piece and its transformations.

Forever Seeking is the foundation. A seven-minute arc that settles into its groove with patience, opens into a melodic break that creates genuine space, and returns with a drop that carries weight without force. The Ambient Mix closes the record as its quiet resolution - the same melody stripped of rhythm, allowed to exist on its own terms.

Between them, Simon Vuarambon contributes two interpretations. The Remix maintains the emotional core of the original while moving with greater urgency, cycling through two distinct breaks and drops across eight minutes. The Dub Mix takes a more stripped approach, emphasizing space and low-end, giving each element room to breathe.

This is music for the later hours, where the dancefloor and the inner world become the same place.

2026 Repress

Following his recent appearance on Blueprint, Mark Broom returns to the label with a unique project, revisiting the work of techno pioneer Regis. Entitled "Power Is Neutral", the release sees Broom rework a selection of seminal Regis recordings originally released on Downwards Records across the albums Gymnastics (1996), Delivered Into The Hands Of Indifference (1998) and Penetration (2001).

Known as one of the key architects of the Birmingham techno sound, Regis (Karl O'Connor) helped shape British techno through his work as co-founder of Downwards Records and a catalogue that continues to influence generations of artists.

For Mark Broom, few artists embody British rave culture quite like Regis. Drawing on source material that has long stood as a cornerstone of UK techno, Broom approaches these edits with both respect and imagination. As Regis puts it, "Mark Broom is like some modern day Bagpuss... he has fired up his techno mouseorgan and polished old relics to make them all shiny and new."

Power Is Neutral delivers six expertly crafted reinterpretations that bridge the raw energy of Regis' original works with Broom's unmistakable contemporary dancefloor sensibility, bringing these timeless tracks to a new generation of listeners.

For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.

The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location proved crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”

SUNN O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.

The compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.

Framing the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. Through the work of the band, Macfarlane, and Rothko, sound, word and visual combine into a fully immersive experience that is undeniably, completely SUNN O))).

2026 has been the year of Deeparture as we have approached this milestone moment for the producer; quality releases from the Dutch artist have pathed the way to his debut album ‘City Reverie’.

‘City Reverie’ is all about Amsterdam – an album created, inspired and born in the great city. Deeparture finds home there but over the years it has been a place where his music has developed and grown into the stunning style he has created throughout this body of work. As an artist on Zerothree, he has been an important part of the label family and working on this album has really seen unique creative aspects, impressive themes and a work ethic that just inspires.

The album features collaborations alongside Lazarusman, Tim Morrison, Jantine, Yves La Rock and plenty of solo material that brings a retro proggy take on 2026 dance music. A real touch of genius and a great body of work that will be timeless.

Between 2024 and 2025, Tour-Maubourg launched his Ensemble live formation alongside saxophonist Ismael Ndir and drummer Fréjus Méa. Fresh from Panorama Studio in Brussels, they unveiled two EPs featuring live reworks and exclusive tracks, a project that has already gathered millions of streams and led the trio to perform in some of Europe's most exciting venues.

*First-ever release on vinyl
*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes
*Vinyl includes 5" x 7" postcard print

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

CASSETTE VERSION

*Produced in full cooperation with Hiroshi Yoshimura's estate
*Remastered from original sources by John Baldwin
*English translations of original 1996 release liner notes
*Reproductions of Yoshimura's handwritten recording notes

"My encounter with the Hoh Rain Forest, located inside Olympic National Park across the water from Seattle, felt like seeing a whole new world for the first time in my life. Long green fronds draped along the branches, like a scene in which fairies could be heard whispering to one another. But when you try to listen, no sound can be heard. Amidst the mysterious silence, in which no birds or insects make a sound, every living thing seemed to have stopped in its place, only to start dancing when some kind of spell is cast over them.
-Hiroshi Yoshimura

Originally issued on compact disc in 1996, Quiet Forest was Hiroshi Yoshimura’s last album-length work to be released before his passing in 2003. Largely inspired by his trip to the vast forests of the North American Pacific Northwest, the album is an aural reflection of the fantastical, surreal beauty he experienced as he walked through the otherworldly wilderness for the first time. The basic tracks were recorded in the fall of 1993. After numerous revisions to the song titles and a scrapped idea to overlay the tracks with nature field recordings, Hiroshi ultimately produced a latter-day masterwork that feels like the spiritual follow-up to Green, one of his defining works from a decade earlier."

Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.

The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.


In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.


At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”

Soak’s fourth album, decembers, was born in literal silence. Contending with an autoimmune disease that prevented them from singing, it was the absence of sound that birthed the Derry artist’s most sonically and lyrically remarkable album to date.

The space that expanded from that enforced quiet, and the life lived within it - transitionary, liminal, escaping in search of connection - cracked something open. What floods in, is an album of stunning tenderness, honesty, and astonishing storytelling from an artist discovering the revelations at the end of the line.


In decembers, we travel on the road through America, walk the frost-glistened paths of Dublin at night, search for a meteor in Portugal, and return home to Derry. Everywhere, here is an artist evolving, exploring, releasing themselves, coming undone, and eventually, becoming.


At the core of the album is this lyrical statement: “Getting lost is getting free.” How brave it is to face the unknown. Because when you really go there, that’s where discovery lies. That discovery in decembers is a creative one, but it’s also about connection to people and place, to forgiveness, and ultimately to prioritising honesty. “A consistent theme is struggling for direction, battling the urge to run,” Soak says, “and instead, planting my feet.”

Nobody knows who Transpac is.

The project first appeared as an anonymous transmission: a folder sent through the network, containing music, instructions and a name - Transpac. No photograph. No biography. Just the request to use the name and let the music speak.

There have been several transmissions since. Still no interviews, no confirmed identity, no explanation of who - or what - is behind the name.

Some say Transpac is a person. Others insist it is a machine. A few believe it is simply a data packet that escaped the network and somehow learned how to make music.

The name itself offers a possible clue. TRANSPAC was once the name of a French public data network, launched in 1978 and built around X.25 packet switching - breaking information into packets and moving them across a network long before the Internet became what it is today.

Perhaps Transpac has been travelling ever since.

Packet Switching EP is the latest intercepted transmission: six packets of pure machine music, assembled somewhere between circuitry, communication protocols and whatever exists on the other side of the network.

Whilst the packets have been received, the sender remains unknown.

Synaptic Cliffs is particularly pleased to have brought Transpac into its network - a feat made possible, not least, by its principal operative, pdqb. Through communication channels inaccessible to ordinary Earthlings, pdqb was able to locate Transpac with remarkable ease and secure its transmission for the label.

The artwork, rendered in yellow and black and largely composed of binary code, echoes the visual language of the early machine age - a world of geometric systems, electronic signals and human beings beginning to communicate with machines. Created by the legendary Infamous Image Division.

ALOUD! is about breaking rules in order to create your own. It’s about speaking your truth unapologetically and not worrying about being judged for it. At its core, this album is meant to feel fun. There’s so much heaviness in the world right now, and sometimes people just need to dance, escape for a minute, and let themselves feel free. Honestly, I need that too.

With this project, I wanted to tap into a lighter side of myself. I wanted to make music that feels fun and accessible. This album is about letting go, being present, and allowing yourself to enjoy life without overthinking every move.



Don’t let anybody silence you or tell you who you’re supposed to be. Say what you want, move how you want, and dance your way through the hard times. Stay ALOUD. You’re allowed to live life on your own terms.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

On June 9, 2025, Rolling Stone Magazine - Australia captured the significance of PARKWAY DRIVE's landmark performance at the Sydney Opera House with the headline: "The AC/DC of Their Generation': Parkway Drive deliver career-defining performance at Sydney Opera House." The one-night-only event brought the Byron Bay metalcore legends into the Concert Hall for an unprecedented black-tie affair, pairing their explosive live show with the grandeur of a full symphonic orchestra. Bringing PARKWAY DRIVE's music to one of the world's most recognizable venues was an ambitious move for a band already celebrated for pushing the boundaries of live performance. Yet seeing the group's signature intensity framed by a symphony orchestra revealed a new emotional dimension to songs built for arenas and festivals. The result was both intimate and monumental-a rare collision of metal, orchestration, and occasion that transformed the Concert Hall into something entirely its own. The context of the performance only heightened its impact. Marketed as a historic black-tie celebration that would never be repeated, the event became one of the most coveted PARKWAY DRIVE shows in the band's history, selling out instantly and leaving countless fans outside the room. For those unable to witness it in person, Home - Live at the Sydney Opera House finally brings this extraordinary night to a wider audience, alongside a feature film and live album documenting this career-spanning performance. At its heart, Home is also a reflection on what "home" has meant to PARKWAY DRIVE over two decades. As their reach has expanded from Byron Bay to stages around the world, their connection to the landscapes, people, and community that shaped them has remained central. Now, that journey comes full circle at one of Australia's most iconic landmarks.

Star Moles ist das Projekt von Emily Moales, einer Auswanderin aus New Hampshire, die in Philadelphia, Pennsylvania zu neuem Leben erwacht ist und sich dort weiterentwickelt hat. Seit sie 2017 zum ersten Mal Musik auf digitales Band aufgenommen hat, tut sie das, was jeder großartige Künstler tun sollte: Kunst schaffen, ihr Handwerk verfeinern und ihre eigene Stimme finden - in ihrem eigenen Tempo und in relativer Anonymität. In diesen Jahren hat sie viele Facetten ihrer selbst erkundet. Ihre bisherigen Veröffentlichungen (sieben Alben in voller Länge, mehrere EPs und unzählige Singles) waren oft fantastisch und konzeptionell geprägt und ließen sich von Literatur und Mythologie inspirieren. Das war für sie als Teenagerin im verschlafenen New England und als junge Erwachsene inmitten der bedrückenden Angst vor einer globalen Pandemie eine notwendige Flucht aus dem Alltag. Jetzt ist sie 27 und geht immer noch nicht besonders oft aus, und hat hochkonzeptionelle Kunst gegen große Wirkung eingetauscht. Sie fühlt sich dazu hingezogen, Musik zu machen, die so klingt wie die Musik, die sie liebt, und über ihr Leben im wunderschönen Philadelphia zu singen. Zudem bleibt sie fest im aktuellen weltgeschichtlichen Moment verwurzelt und spricht Themen wie religiösen Fanatismus, den ökologischen Kollaps und den unverhohlenen Aufstieg des Faschismus in Amerika an. Ihr überragendes fünftes Studioalbum heißt "Highway to Hell". AC/DC, da könnt ihr euch verdammt noch mal ein Beispiel daran nehmen. Einfach gesagt: Dieses Album ist ein bedeutendes Statement, das die Ankunft eines einzigartigen Talents signalisiert, das reif für den Durchbruch ist. Moales ist eine der Hauptakteurinnen in einem jungen, hungrigen Team unglaublich produktiver Künstler, die in der stets pulsierenden Musikszene in Philadelphia noch unter dem Radar fliegen, aber dabei sind aufzusteigen. ,Highway to Hell" wurde von Kevin Basko (Rubber Band Gun) produziert und enthält wichtige Beiträge von Mitgliedern des Kreativkollektivs ,Emily and Kevin's Historic NJ Recordings", darunter Sam Sullivan (Gitarre) und Jem Seidel (Schlagzeug).

Das fünfte Studioalbum von Psychic Ills, ,Inner Journey Out", feiert sein zehnjähriges Jubiläum. Ursprünglich erschien es 2016 als erstes Album der Band seit ,One Track Mind" (2013) und gilt als Höhepunkt einer dreijährigen Odyssee des Songwritings, die die Psych-Rock-Landschaft durchquert, die Psychic Ills im Laufe ihrer Karriere geprägt haben, während sie inspirierte Ausflüge in Country, Blues, Gospel und Jazz unternahmen. ,Inner Journey Out" begann so, wie viele Alben von Psychic Ills: mit den Demos von Frontmann Tres Warren. Wie bei allen ihren Alben ist Elizabeth Harts Bass das Bindeglied, das alles zusammenhält. Eine ganze Reihe von Musikern und Sängern - darunter Hope Sandoval von Mazzy Star, die beim Duett der Lead-Single ,I Don't Mind" mitwirkt - begleiten die Band auf dieser Reise. Dies ist zudem das erste Album, auf dem der Tour-Keyboarder Brent Cordero zu hören ist; sein Spiel auf Farfisa und Wurlitzer zieht sich wie ein roter Faden durch das Album. Diese Musiker bilden den Rahmen, auf den Warren seine verträumte Gitarre und seinen Gesang legt. Eine endlose Reihe von Freunden und Gästen beteiligt sich am Geschehen und steuert Pedal-Steel-Gitarre, Blasinstrumente, Streicher und Hintergrundgesang bei, was in einem karriereprägenden Moment für die Ills gipfelt. Thematisch ist ,Inner Journey Out" eine detaillierte Erkundung des Inneren und des Äußeren sowie des Weges zwischen beiden. Das fokussierte Songwriting sorgt dafür, dass sich die stilistischen Abweichungen nahtlos in das vielseitige Ethos der Band einfügen. Die mitreißende Gospel-Psychedelia von ,Another Change" und ,Baby" sowie die abgedrehte Free-Jazz-Erkundung ,Ra Wah Wah" tragen dazu bei, ,Inner Journey Out" zu einem facettenreichen, umfassenden Albumerlebnis zu machen. Abgesehen von dieser Weite ist es auch das persönlichste Album der Psychic Ills, das verlockend auf Liebe und Verlust anspielt, dem Hörer aber keine Auflösung bietet - es stellt Fragen, gibt aber nie Antworten; es sucht, kommt aber nie zu einem endgültigen Schluss. Stell es neben andere ,Drop-out"-Symphonien wie ,Ladies and Gentlemen We Are Floating in Space" von Spiritualized, ,Pacific Ocean Blue" von Dennis Wilson und ,Born to Be With You" von Dion - und lass deine Reise beginnen.

Moroccan-born producer Reda Senhaji, better known under the name Cheb Runner, presents 80K, the second installment in Beat Machine’s TERRA TEMPO series. A direct tribute to the cultural heritage of the Souss Massa Darâa region, the release reactivates ancestral rhythms and translates them into a forward-looking electronic language rooted in place, memory, and physical sound.

Drawing from traditions such as Ahwach, Gnawa, and other interconnected practices from the Souss region, the EP preserves original rhythmic skeletons while reimagining them through modern production and club-oriented structures.

Across six tracks, traditional instruments and electronic elements collide fluently, where the 808 functions as a structural force rather than an accent. From the rolling pulse of Iznagn Engines and the evocative contours of Azn Oudrar to the spiritual resonance of Gn-Awa, the B-side expands the journey with the sub-heavy Afouss Adar 808, the atmospheric Tarwan Ganga, and a reinterpreted Gn-Awa by Guedra Guedra, layered with intricate textures and low-end pressure.

Moving between bass, world, and electronic territories, 80K reflects a deliberate balance between preservation and transformation. Music that carries ancestral rhythms into new listening spaces, bridging generations, cultures, and sonic worlds within a single, cohesive experience.

Al Wahem (“The Illusion”) is the new full-length release by PRAED, the Swiss–Lebanese duo of Raed Yassin and Paed Conca. Recorded between Beirut and Berlin, the album returns to the group’s central aesthetic: a rhythm-driven weave of Egyptian shaabi, electronics, improvisation and the gritty pulse of street-level sound. Nearly twenty years into the project, PRAED have distilled their approach into four pieces that subtly shift the listener’s bearings, reordering grooves and fragments until familiar elements take on new identities.
The twenty-minute title track sets the tone. A tightly interlocking two-drum foundation from Pascal Semerdjian and Ayman Zebdawi shapes a structure that expands steadily: synth figures branch outward, clarinet and bass lines act as internal guideposts, and brief vocal calls from Yassin and guest singer Mayssa Jallad sit inside the texture rather than leading it. PRAED’s shaabi keyboard language is present, but the duo stretch it outward, building tension and movement through patient accumulation.

“Al Hathayan,” at 4:46, tightens the focus. Conca’s clarinet moves between melodic arcs and clipped rhythmic gestures, threading through electronic loops that surface and disappear. Zebdawi’s percussion adds a raw, tactile quality, placing acoustic patterns and electronics in direct conversation. The piece acts as a bridge between the album’s two long-form compositions.
Side B begins with “Al Maraya,” a thirteen-minute piece that relies on electronic, bass and clarinet interplay. The atmosphere nods to the breadth of PRAED Orchestra!, but remains anchored in the duo’s rhythmic foundations. Rather than building mass, the layering creates a sense of depth, as if new spaces were opening inside the groove.
The album closes with “Assarab,” featuring keyboardist Amr Said. Semerdjian and Zebdawi again form a dual percussive axis, while synths hover between melody and pulse, and themes recur in widening circles rather than building vertically. The porous boundary between electronic and acoustic sources — processed clarinet mistaken for a sequencer, rhythmic figures springing from live drums — is where the album’s theme of “illusion” shows itself most clearly.

Al Wahem follows a long arc: early releases on Annihaya, a key appearance on Ruptured Sessions Vol. 5 – Live at Radio Lebanon (2013), later albums on Akuphone, and the large-scale PRAED Orchestra! documented on Morphine Records. This new Ruptured/Annihaya co-release brings the duo back to a concentrated format, reorganizing their familiar materials with renewed clarity and intent.

Bringing mutant verve and a deadly swing to the bassweight discipline, Lyeform lands on Sneaker Social Club in resonantly rude form. Strong doses of UKG, wormhole techno and dubstep course through the veins of this muscular four-deep drop, but the London-based producer's metabolism strips the strands down to an atomic level and rebuilds the dance in his own design.

There's a dense and dank mood hovering over 'Drift Into Dread,' shaped out by rugged, noisy percussion steering towards mind-melting immersion. Rather than resting in technoid repetition, the landscape keeps shifting as dislocated rhythmic phrases slide in and out of earshot, led by the disembodied toasting of a mysterious MC.

'Vintage Gilly' has a much starker sound palette, all crackling drums sparking static interference into negative space with subs so low you might mistake them for heart murmurs. All the better to savour the subtleties as they tease into the mix, not least the understated lead lines loping lazily on the threshold.

The 2-step swagger is unmistakable on 'Godkiller' as it comes bowling into earshot, but there's not a whiff of garage revivalism in earshot as we channel hop between metallic feedback interference and needlepoint noise snaking around the minimalist framework of the beat.

'Glass Eater' closes the record out on another skippy stepper, but here Lyeform makes room for cavernous dub techno chords, overdriven bass harmonics and teeth-grinding noise. It's a final maverick swerve from an artist carving out a formidable impression via micro-level textural exploration within the context of dark and deadly soundsystem tackle.

A batch of bass-heavy basement house tracks on the Clone Royal Oak series, simply because these are too much fun not to release on vinyl! The QB-1 project leans on those stompin' old school Todd Terry and Kenny Dope beats, but adds some modern production skills and turns them into proper DJ tools for those sweaty house basements, or what the heck, even your TikTok rave!

2026 Repress


New EP from Polish label Kooky is a challenging and ambitious one. Jay Tripwire, Canada's finest DJ and producer, offers a solid set of 3 minimal (techno) tracks, crafted with a unique passion for detail, raw energy and dark soundscapes. Every track differs in intensity and dynamics, but all of them are a feast for the ears to demanding music lovers. If you are searching for the true beauty of minimal and want to escape from modern dance music that is unfortunately more and more generic these days, this release is just for you.

Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.

Label founder DJ Scientist tells the story of how the tracks were uncovered:

"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.

Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)

Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.

Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"

To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.

When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.

The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!

Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.

The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.

The vinyl edition is limited to 400 copies.

Mount Kimbie’s forthcoming contribution to the acclaimed fabric presents series marks one of the duo’s most dancefloor-focused bodies of work in years. More than simply a release on fabric Records, the project sits within the revered fabric presents mix series, placing Mount Kimbie alongside artists such as Daniel Avery, Midland, Helena Hauff and Overmono, artists who have each delivered defining entries for the series.

Leading the project is first single “Monroe”, a warm yet uplifting club track that unfolds gradually through loose percussion, driving synth work and subtle vocal fragments drifting in and out of the mix, adding flashes of emotion without interrupting the track’s momentum. An ode to their 2017 hit ‘Marilyn’ featuring Micachu, the track carries elements of the original throughout, with flourishes over reverb washed vocals that float around you amongst driving drums and bass. There’s a summery energy running throughout the track, making it equally suited to late-night club systems and open-air festival stages.

Long celebrated as pioneers of the post-dubstep and future garage movements, Mount Kimbie continue to evolve beyond genre boundaries while maintaining the unmistakable sonic identity that has made them one of the defining acts in UK electronic music. Their contribution to the fabric presents series captures the duo at their most refined and exploratory, without losing the emotional atmosphere and understated intensity that has always defined their work.

Released as part of the prestigious fabric presents series via fabric Records, the project signals a bold new chapter for Mount Kimbie.

Dark Entries is proud to host Darlynn’s debut album, Dyke Den. Darlynn is an Oakland-based duo composed of Daria Lourd (aka Bored Lord) and her wife, vocalist Jaelynn Walls. Dyke Den is a lesbian love story about two creative individuals finding each other and themselves through effusive and contemplative sonic avenues. Created in their home over the course of two years, this album speaks to the journey of Daria and Jaelynn’s romantic relationship as well as their evolving combined creative impulses.

On Dyke Den, Darlynn display their influences – from Janet Jackson and Sly & the Family Stone, to Frankie Knuckles and Larry Levan – in a sophisticated, fully realized, and overtly queered fashion. Joyous dancefloor moments are abundant. Tracks like “Make Yr Move” and “Like A Summer” celebrate deep house vibes ala Alleviated Records, while sultry R&B moves are flexed on “Girl 2 Girl” and “Alright With Me.” But longing and yearning exist within this joyous arc, and the question arises: “How can I get you to love me?” More than an idealistic narrative of girl meets they/them, Dyke Den paints a portrait of love in all its multifaceted moments: the bids for commitment, the stagnation of years going by, the wormholes of desire. Yet the album maintains its thesis of hope. The sweet, layered harmonies of closing song “Love Letter” display the power of life partnership: “My whole life is a love letter to you.” Dyke Den features artwork by Hailee Va in a sleeve designed by Eloise Shir-Juen Leigh. Darlynn’s final declaration, “We are all creatures of desire, completely built for love.”s

2026 REPRESS

COEO are back on Toy Tonics! After uninterrupted touring around the globe, followed by a short creative break the guys come back with an even stronger sound. With the new EP they go more underground again. Its addressed to the clubs and night owls out there, who turn night into day and won't stop dancing!

The sound is based on classic house patterns and includes a lot of cool saxophones, big piano stabs & rhythmic piano solos. They even go tribal, use arpeggios and switch into breakbeat heaven. The four Originals are a great next step in the COEO evolution. The unique warm, catchy atmosphere of the tracks can create that special COEO euphoria which made them a lot of fans. From Moodymann to Disclosure, Mall Grab to Kenny Dope, the list is long.

It’s fantastic to see how popular they became over the last couple of years. The last COEO vinyl sold over 2500 copies and some of their tracks have millions of Spotify plays. It’s DJ FOOD. Pure bliss!

Sincere yet uninhibited. Powerful yet vibrant. This remarkable debut album captures the breakthrough moment of rising pianist Mikio Masuda.

Mikio Masuda first came to prominence as a member of the Terumasa Hino Group, and this is his debut album as a leader. The musicians are essentially the same lineup that was performing with the Hino Group in 1974, but with Masuda at the helm, the music takes on an especially fresh and energetic character. He plays with remarkable freedom and confidence, as if completely at home in the spotlight.

Four of the album’s six tracks are Masuda originals. At times he moves forward with a light, agile touch; at others, he unfolds beautiful themes with lyrical sensitivity. The variety of the compositions and the freshness of the performances are consistently striking.

Among the highlights is “Prayer”, a powerful, Afrocentric piece that stands as an outstanding example of the post-Coltrane approach. Both compositionally and performance-wise, it ranks among the album’s defining achievements.

This album marks the starting point of Masuda’s career and remains one of his signature works, documenting the emergence of an artist who would later become one of the leading figures of the fusion era.

Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.

Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.

Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.

Mit ihrem ersten offiziellen Studioalbum seit 16 Jahren meldet sich Erykah Badu eindrucksvoll zuruck. In den Jahren seit ihrer letzten Veroffentlichung hat die vielfach ausgezeichnete Kunstlerin nicht nur als Musikerin, sondern auch als Mutter, Mentorin, Doula und kulturelle Vordenkerin gewirkt. Ihr Einfluss auf Musik, Mode und Popkultur ist dabei kontinuierlich gewachsen: Die funffache GRAMMY-Preistragerin mit insgesamt 20 Nominierungen zierte 2023 das Cover der Vogue, erhielt 2024 den CFDA Fashion Icon Award und wurde 2025 mit dem Billboard Icon Award geehrt. Gleichzeitig arbeitete sie mit Kunstlerinnen und Kunstlern verschiedener Generationen zusammen, darunter Janelle Monae, Tyler, The Creator, Flying Lotus, Robert Glasper, Teyana Taylor und Rapsody.Ihr neues Album "Before the World Blows" entstand gemeinsam mit dem renommierten Hip-Hop- Produzenten The Alchemist, der seit Jahren zu den pragendsten und produktivsten Produzenten seines Fachs zahlt. Das Werk verbindet introspektive Texte mit innovativen Klangwelten und kreist um Themen wie Liebe, Erinnerung, Traume, Weiblichkeit und personliche Entwicklung. In vier Kapiteln entfaltet sich eine musikalische Reise durch Badus Gedankenwelt, die zum Innehalten und Nachdenken einladt.Die Zusammenarbeit begann vor uber drei Jahren und entwickelte sich zu einem kreativen Dialog, aus dem ein vollkommen eigener Sound entstand. Soul, Blues, Funk, Rock, Jazz und Underground-Hip-Hop verschmelzen zu einem genreubergreifenden Klangbild. Bereits vor Veroffentlichung wurde das Album in intimen Live-Shows erprobt und weiterentwickelt. Das Ergebnis ist eines der ambitioniertesten und zukunftsweisendsten Projekte in der Karriere beider Kunstler.

Der neueste Zuwachs im ständig wachsenden Katalog von D.B., ,The Beat Zealot", ist da, um lebenslange Fans von Instrumentalmusik anzusprechen und neue Hörer auf der ganzen Welt zu begeistern. Grimez ist ein Beat-Fanatiker. Geboren und aufgewachsen in Südflorida, ließ er sich von Entertainern und DJs wie Jam Pony Express inspirieren. Als Teenager verbrachte Grimez Stunden auf dem Flohmarkt, blätterte in Katalogen und suchte sich Kassetten für seine Sammlung aus. In den 90ern zog er nach Ohio, wo er sich in das Sampling verliebte und anfing, eigene Musik zu produzieren. Für jede Doctor-Bionic-Platte holt Grimez eine Reihe hoch talentierter Musiker aus der lokalen Szene mit ins Boot. Im Studio wirft die Gruppe Ideen in den Raum und improvisiert, während Grimez das Mischpult bedient. Später arrangiert er die Tracks und legt ein Thema für ein Album fest. ,Ich arbeite immer an einem Album, aber manchmal bin ich mir nicht sicher, wie das Cover oder der Titel aussehen werden", erklärte Grimez. Die Kunst inspiriert oft die übergreifende Botschaft, die sich in kurzen Zwischenspielen aus Vocal-Samples widerspiegelt, die zwischen den Instrumental-Jams eingestreut sind. Das Cover von ,The Beat Zealot" zeigt einen einsamen Abenteurer, der auf einem Berg steht, von dem aus man auf eine ferne Stadt blickt. Ist er auf dem Weg in die Zivilisation, oder flieht er? Das Album liefert keine eindeutigen Antworten, bietet aber reichlich Inspiration für den neugierigen Hörer. Also, dreh die Musik auf und lass deine Fantasie den Rest der Geschichte schreiben. Freu dich auf weitere sofortige Klassiker von Doctor Bionic...

Der neueste Zuwachs im ständig wachsenden Katalog von D.B., ,The Beat Zealot", ist da, um lebenslange Fans von Instrumentalmusik anzusprechen und neue Hörer auf der ganzen Welt zu begeistern. Grimez ist ein Beat-Fanatiker. Geboren und aufgewachsen in Südflorida, ließ er sich von Entertainern und DJs wie Jam Pony Express inspirieren. Als Teenager verbrachte Grimez Stunden auf dem Flohmarkt, blätterte in Katalogen und suchte sich Kassetten für seine Sammlung aus. In den 90ern zog er nach Ohio, wo er sich in das Sampling verliebte und anfing, eigene Musik zu produzieren. Für jede Doctor-Bionic-Platte holt Grimez eine Reihe hoch talentierter Musiker aus der lokalen Szene mit ins Boot. Im Studio wirft die Gruppe Ideen in den Raum und improvisiert, während Grimez das Mischpult bedient. Später arrangiert er die Tracks und legt ein Thema für ein Album fest. ,Ich arbeite immer an einem Album, aber manchmal bin ich mir nicht sicher, wie das Cover oder der Titel aussehen werden", erklärte Grimez. Die Kunst inspiriert oft die übergreifende Botschaft, die sich in kurzen Zwischenspielen aus Vocal-Samples widerspiegelt, die zwischen den Instrumental-Jams eingestreut sind. Das Cover von ,The Beat Zealot" zeigt einen einsamen Abenteurer, der auf einem Berg steht, von dem aus man auf eine ferne Stadt blickt. Ist er auf dem Weg in die Zivilisation, oder flieht er? Das Album liefert keine eindeutigen Antworten, bietet aber reichlich Inspiration für den neugierigen Hörer. Also, dreh die Musik auf und lass deine Fantasie den Rest der Geschichte schreiben. Freu dich auf weitere sofortige Klassiker von Doctor Bionic...

Originally released in 2006, John Acquaviva presents Swen Weber's ‘First Stroke’ returns on Secret Weapon Records with a
brand new remix from Luca Lozano. A defining Electro House record of its era, built around its instantly recognizable synth
theme, now gets a sharp 2026 update as Lozano moves the hook onto a break-driven groove, adding playful bass movement
and a futuristic vocal touch.
The remastered original is included on the flip, preserving one of the standout club records from the mid-2000s Electro House
boom.

Echoes from Mozambique 1993-2005 is the first time Ghorwane's most cherished recordings have been pressed on vinyl, drawing from three landmark albums spanning the arc of their career. The tracks chosen represent the band at their best: soaring with musicality, punching with feeling, and lifting the spirit.

Remastered by Frank Merritt at The Carvery in London and pressed as a premium double LP by Merchant Records, this is an essential document of one of Africa's great bands, finally given the format their music deserves. Following a celebrated UK and European tour in 2026, Ghorwane remain as vital and active as ever.

For the first time in their celebrated history, legendary Mozambican band Ghorwane are released on vinyl.

Founded in Maputo in 1983, Ghorwane’s unique sound blends traditional rhythms with Afropop, soulful horns and politically charged lyrics that made them simultaneously heroes of the people and a headache for those in positions of power.

As Mozambique’s longest-running band, they have survived the tragic murder of two of their most influential members and institutional censorship, going on to become one of Mozambique's most respected bands and inspiring a generation of artists.

Hard-hitting limited 7” floppy disk by West Coast beat maestro Mophono, mashing up two 8bit mini epics by disrupt and shooting them into outer space.

“Budokan Dub” is the instrumental cut of Roger Robinson’s “Bristol Crystal” from the Jahtarian Dubbers Vol. 6 compilation: a bass heavy mutation of Rob Hubbard’s 1989 fighting game soundtrack, re-worked by disrupt on a DIY commodore synth, with added extra rocket fuel by Mophono, cranking the psychedelics up to eleven.

Made with the same DIY synth, “Proper Tings version” on B is based on the original riddim track for Tikiman’s “Who Goes There”. Mophono now sent it through the cosmic slice machine, turning it into a deadly sound system rattler, designed to take the roof off at those very special moments.

Coming with the additional beat tool “Dub Form Creator” and a nice’n’gritty floppy disc sleeve this crucial little data package is not to be missed!

Outer Place Records proudly presents its seventh vinyl release: Jungle EP by Kamyar Keramati with included a remix from Domenico Rosa . A sonic expedition through intricate rhythms and emotive textures, this EP marks a significant chapter in our label's journey. Berlin-based Iranian producer Kamyar Keramati delivers a compelling four-track EP that traverses the realms of techno, breakbeat, and ambient soundscapes.

A1. "Jungles"
An immersive opener that sets the tone with layered percussions and atmospheric depth, inviting listeners into a dense sonic forest.

A2. "Sakhiff"
A rhythmic journey blending intricate beats with subtle melodies, showcasing Keramati's prowess in crafting dynamic electronic narratives.

B1. "One For All"
A unifying track that melds diverse sonic elements into a cohesive whole, reflecting the EP's complete theme of interconnectedness.

B2. "Jungle (Domenico Rosa Remix)"
Italian producer Domenico Rosa reinterprets the title track, infusing it with his signature minimalistic but techno flair, adding a fresh perspective to the original composition.

Each track demonstrates Keramati's ability to weave complex rhythms with emotive undertones, creating an EP that resonates on both the dancefloor and in introspective settings. Visual Identity by Henrik Delehag Complementing the auditory experience, the EP features cover art by Swedish artist Henrik Delehag . Known for his distinctive black-and-white iconography, Delehag's work explores the interplay between chaos and harmony. His art distills complex realities into symbolic forms, providing a visual narrative that mirrors the EP's sonic journey.

This collaboration marks the beginning of an ongoing partnership, with Delehag set to design all future vinyl covers for Outer Place Records. His unique artistic vision aligns seamlessly with our label's vision, enhancing the holistic experience of our releases.

Jungle EP is more than a collection of tracks; it's a curated experience that fuses sound and visual art.

Available soon on vinyl and digital platforms.

Following the release of Haunted House Party, Bradley Thomas Turner was contacted by the Cryptozoological Society of New York City to create music for their museum’s holiday exhibitions. As enigmatic as they are controversial, the secretive society gave the composer free rein to create music that celebrated their profane (and, according to their critics, pseudoscientific) explorations of the darker side of yuletide folklore. The endeavour was denounced by religious groups, the scientific community and even parts of the cryptozoological community as “blasphemous,” “irresponsible”, and “a dangerous topic to make light of” respectively. Not much is known about the pandemonium that broke out on the night of the opening reception, but one journalist (who has been granted anonymity by request) infiltrated the event and captured the recordings that follow. Death cult ritual? Mishandling of cursed artifacts? Elaborate practical joke? Publicity stunt? No one can (or will) say for sure as no person in attendance has been willing to speak on record. Therefore, we present these recordings so the general public can decide for themselves.

‘veneration for the sacred action’ is the first compilation release by london-based independent record label ‘lifeis beautiful records’ released in celebration of the three-year anniversary of the label (& the gesamtkunstwerk that it exists within), the compilation brings together members of the life is beautiful septet collective, as well as various collaborators and special guests from previous life is beautiful events of the past three years. it highlights a range of the various solo, group projects, and alias’ of the septet, as well as various artists from the wider orbit of the life is beautiful constellations. the project was executively produced and curated as an album by label founder aloisius, as a selected works of the life is beautiful constellations. it stands as a comprehensive yet intentionally incomplete representation of the past three years of life is beautiful

Roland Leesker Remixes Inner City Classic ‘Pennies From Heaven’
Definitive Recordings presents a powerful new remix by Roland Leesker of ‘Pennies From Heaven’, the timeless house classic by Inner City, originally released in 1992.
Founded by Kevin Saunderson, one of the legendary Belleville Three and a key architect of Detroit techno, Inner City shaped the sound of electronic music with global hits like ‘Big Fun’ and ‘Good Life’. With over six million records sold and decades of influence, their catalogue remains a cornerstone of dance music culture.
On his remix, Roland Leesker transforms ‘Pennies From Heaven’ into a driving, floor-focused house weapon. Built around a heavy, straight TR-909 groove, the track gradually introduces elements from the original in a layered, loop-based arrangement.
The remix reaches its peak in a powerful breakdown, where the full main theme and vocals unfold, creating a classic hands-inthe-air moment before dropping back into the stomping groove. The result is a modern interpretation that stays true to the spirit of the original while delivering maximum impact on today’s dancefloors.
Roland Leesker, a long-standing figure in house music, has been active since the late 80s, with roots in Frankfurt’s club scene and later key roles in New York, Berlin, and the global music industry. From his early days at Delirium Records to his work with Get Physical Music and beyond, Leesker has consistently contributed to shaping electronic music culture.
This remix brings past and present together, offering a respectful reimagining of a classic for today’s house music dancefloors. The vinyl release is completed by an additional Acapella Tool on the B-side, offering DJs a stripped-back version focused on the iconic vocal elements of the track — perfect for creative mixing and extended club moments.

2026 Repress

The undisputed Godfather of Boogie, Leroy Burgess’s Logg project is his grand masterpiece.

The self-titled LP, originally released on Salsoul in August 1981, is one of the greatest albums of the post-disco era. It’s one of Be With’s favourite ever LPs and so it’s a complete honour to be giving it our reissue treatment. With all the touchstones of Burgess’s finest work - breezy grooves, undulating synths, funk-drenched bass and life-affirming lyrics - delivered with gospel-derived vocals and harmonies - it’s a record to uplift both body and spirit.

Already a cult soul figure as lead singer of seminal vocal group Black Ivory, Leroy Burgess cut his teeth as arranger, vocalist and songwriter with legendary producer Patrick Adams on essential late-70s projects like Phreek and Dazzle. He went on to define the essence of “boogie”: the vibrant underground dance sound that stood in contrast to commercial disco. With its reduced speed - mid-90 to under 110 BPM - the cool boogie of Burgess has the disco bounce, just more laidback.

All six tracks here could have been stand alone 12" hits. Indeed, some of them were. But together they are also an incredibly cohesive album, where all the compositions are deeply relevant to each other. In short, it’s essential; a thrilling showcase for Burgess’s finest arranging and production work - with his vocals at their euphoric peak alongside the inventive rhythm section of Aaron (Sonny) T. Davenport on drums and James Calloway on bass.

Opener “(You’ve Got) That Something” is a balmy sunshine groover with an insistent chorus whilst the timeless vocal of “Dancing Into The Stars” - married to percolating synth and airtight drums - showcases the chemistry between Burgess and the rhythm section.

The fusion of funk and gospel-influenced harmonies which propels “Something Else” is remarkable - deep, joyous and bouncy. Infamously mixed by Larry Levan, “I Know You Will” is an easy glide, all rollicking electric piano underpinned by a precise and relentlessly upbeat groove. “Lay It On The Line” radiates smooth, understated brilliance, elevated by interstellar keys and finally album-closer “Sweet To Me” is a chilled-out gem of profound soulful elegance.

Logg has long been a hit with the likes of Kenny Dope and Dam-Funk whilst, in the last decade, MCDE and Harvey Sutherland have routinely cited it as a huge influence. Accordingly, finding original copies on vinyl at affordable prices has been a thankless task. This fresh Be With reissue ensures this legendary record now sounds, looks and feels as sensational as it deserves to.

Mastered brilliantly by Simon Francis, cut by Pete Norman and with lovingly reproduced artwork, we think this is a reissue that does justice to this classic LP.

Pageant flexes his D&B production skills on this spatial themed 4-track EP.

2026 Repress

SHDW & Obscure Shape offer up their first EP on new imprint Mutual Rytm as they drop five fresh and expansive techno cuts across their 'Poetic Justice' EP.

A duo that has ascended to become leading names within today's techno landscape, SHDW & Obscure Shape continue to grow and evolve while shaping their own unique sound fusing classic influences with a modern touch. Their latest project saw the birth of Mutual Rytm - a new imprint launched in early 2022 set to showcase a deep dive into the duo's musical roots via their own productions alongside material from the label's close family of likeminded artists. Following the label's opening multi-artist VA and the first solo EP from Berlin's Lars Huismann, June welcomes the first solo instalment from the label founders themselves as they ready a killer five-tracker set to make an impact.

A1 'Turbulence' sets the pace as the duo delve into nimble rhythms which ebb and flow effortlessly to reveal a hypnotic slice of modern techno permeated with classic, old school cues, while 'Pulse' takes up a darker aesthetic, keeping the energy high as metallic drum licks guide driving sub-bass and resonant stabs. On the Bside, title cut 'Poetic Justice' balances warping vocals with swinging percs amongst a layered, drum-laden kinetic
workout, exemplifying the duo's drive for combining and contrasting various shades of techno. Next up, 'Set It Off' welcomes the introduction of expansive melodies to offer an entrancing late-night cut, before turning to the unhurried grooves, salient hats and sweeping atmospherics of 'Killing Me Softly'.

Digital bonus 'Before Sunset' once again delves into lighter, breezy territories while keeping the classic rolling
techno touches throughout, shaping up the package with a powerful yet agile closing production.

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus that could only come from Hannah Lew in 2026.

Kid Katana Records teamed up again with KOEI TECMO GAMES and Team NINJA, to bring you the NINJA GAIDEN 2 Black OST on vinyl for the first time.



This physical edition is a 2LP designed in close relationship with the game's creative team:


2-colored vinyl with a unique “corona” effect that is reminiscent of “Sumi (black ink)”: handmade vinyl effect melting white and black colors to shape a unique vinyl color on each product, evoking Ryu Hayabusa style.
Handpicked curation of the game music, mastered for this specific vinyl edition
A Gatefold created for this specific vinyl

Kid Katana Record produced this album with supervision from Koei Tecmo Sound, who composed the original game music.

LP! is the fourth studio album from renowned Baltimore rapper JPEGAMFIA. Released on October 22nd, 2021 (his 32nd birthday), the album features guest appearances from DatPiffMafia, Kimbra and Tkay Maidza. It received a great critical response from Pitchfork, NME, and more. The album thematically speaks to JPEG’s struggles within the music industry and staying true to his art, and is entirely self-produced like much of his work. JPEGMAFIA has established himself as one of today’s premiere contemporary and experimental hip hop artists, with over 1.5M monthly listeners on Spotify, and 500K+ Instagram followers. His fanbase is dedicated, excited and engaged with everything JPEGMAFIA does.

Nippon Psychedelic Soul 1970-1979 is Time Capsule’s continuation of the deep dive into Japan’s rich history of folk and psychedelic soul music.

Vinyl LP with 4 page insert, original artwork and photos

The kaleidoscopic psychedelia of 1970s Japan captured a fragile and fertile moment as the country sought its future in funk grooves, heavy reverb and lyrical hallucinations.

The follow-up compilation to Time Capsule’s Nippon Acid Folk, Nippon Psychedelic Soul takes myriad pathways into the tripped-out undergrowth of 1970s Japan. Finding their feet at home and looking for inspiration abroad, the musicians featured here were engaged in the communal soul-searching that followed the breakdown of the 1960s protest movements. Some made it big, others drifted into oblivion. The music they left behind shimmers with intensity.

At the core was Happy End, the first project of YMO’s Haroumi Hosono, whose distortion-heavy guitar and crisp back-beat laid the foundations for Japanese lyrics that flipped the paradigm of Japanese rock music on its head. With it came a new found sonic ambition, such as in the bold Philly-soul style arrangements of producer Yuji Ohno, whose work with occult wandered Yoshiko Sai shares some of the bittersweet grandeur of Rotary Connection or David Axelrod.

Then there was Jun Fukamachi, a pioneer of Japanese synthesis, whose debut album was a carnival of orchestral funk, euphoric horn lines and rich production, complete with soaring guitar solos, psychedelic organ and a truly cinematic finale. The first and only time Fukamachi would sing on record, ‘Omae’ rips like the ultimate end-of-nighter.

Influenced by giants of the US soul scene, maverick composer Hiroshi “Monsieur” Kamayatsu (otherwise known as ‘the Brian Wilson of Japan’) went one step further, enlisting Tower of Power to play on ‘Have You Smoked Gauloises?’ The B-side to Monsieur’s biggest-selling single, it coasts with sophisticated cool - a liquid bassline and suave keys comping under a roaring trademark ToP sax solo. No surprise it found favour once more on the Acid Jazz dance floors of ‘90s London.

Such was the spirit of experimentation that big studio productions and private press releases sat side-by-side, with the likes of Momotaro Pink and Kazushi Inamura, taking their hopes of success into their own hands with the resources available to them. More reflective but no less robust, theirs was a heavy, fat-backed drum sound, soaked in dramatic, soulful psychedelia.

If some were dreamers and others space cadets, none were further out than sci-fi writer, musician, activist and self-made scientist Tadashi Goino, who transformed his own fantasy novel Messenger from the Seventh Dimension into an operatic prog odyssey with few discernible musical reference points – a majestic and completely bonkers outlier even among company as strange and brilliant as that which is collected here.

Less a compilation of a scene, as a compilation of a sentiment, Nippon Psychedelic Soul is a wild ride from start to finish, shattering the narratives of the Japanese folk and rock tradition into a million tiny pieces.

Zeta-Kognition is a rarely documented perceptual phenomenon in which thoughts are no longer experienced in the order in which they are formed.

The first reports appeared shortly after the promo release of this EP. Listeners described a strange effect while listening to pdqb's signature electro tracks: while the music was playing, memories, expectations, and present perceptions seemed to exchange places. Some felt they had already completed a thought before it had even occurred to them. Others reported that half an hour vanished in what felt like seconds, while a few minutes seemed to contain an unusual depth and density of experience.

Intriguingly, those who experienced side effects after listening could restore their normal perception by playing the entire EP in reverse. It was said that the reverse playback would unwind the cognitive displacement caused by the original sequence, gradually returning memories, expectations, and present awareness to their natural alignment.

Dr. Sascha Dornhöfer, who first documented the phenomenon, speculates that the remix by Carsten Nicolai (Alva Noto) may contain a unique balance of repetition and symmetry that survives both forward and reverse playback. This would explain why listeners experiencing the effects of Zeta Cognition consistently identify it as the point from which normal perception can be restored.

In any case, dear listener, there is no cause for concern - the antidote is hidden in reverse.

P.S. Then again, who knows. Persistent rumors suggest that Adam Pendleton's exclusive black-and-white artwork conceals a visual counterpart to the phenomenon, though no one has yet determined exactly what it reveals - or to whom.