Cerca:this heat

Calendar Crowd was the duo of Alan Heaton and Terence tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the '70s. In the '80s they formed a 6-piece band called Room For Humans 0and recorded one single'Telephone Telephone / Girlfriend'. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.In 1982 they released their debut single 'Perfect Hideaway/Perfect Hideaway Dub' on 7'. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP 'Listen in to the Heart' in 1985. A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue we've compiled both singles on one EP featuring all four songs. Perfect Hideway is a evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance's deep, rich vocals guiding the way accented by bright brass stabs. Meanwhile the Dub has stripped back the vocals, added delayed samples and heavy pounding drums. On the B-side 'Listen in to the Heart' and 'Questions Answers' are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original Perfect Hideaway jacket featuring black and white October 1982 calendar with the tile hand written in red pen. Each copy includes a double-sided 8x11' insert with lyrics, notes and photos.

What if we took you back to your untroubled teenage days, when all seemed complicated and easy to reach at the same time That is exactly what Cassius managed to transpose in 15 Again: a carefree music, coloured by some deep songs; like an emancipated soul, but always tormented. The hit 'Toop Toop", sampled by Madonna or David Guetta, among others, and the intense 'La Notte' illustrate perfectly this state of mind of the youth. Pharrell Williams is present on the song 'Eye Water", a beautiful ode to our planet and its natural resources, and Cassius has got further exciting surprises for you. We're releasing their third album once again for this summer, a real shot of freshness to relieve you from the heat!

repressed !

Cellaa Music is proud to present release number 19 with Dennis Cruz & Luliano Mambo. It was obvious then, not to have this young, driven talented artists on board is not an option, they are a gem! Get ready for some colossal dancefloor tech-house heat!

After amazing releases on Insert Coin and Mushroom Smile, Dennis & Luliano lands on Cellaa Music with a smashing ep titled LSD'. Enjoy the hot percussions and the fresh flavors in the three tracks they are proposing you, and put them into your bag. This groove is irresitable!

The Remix comes from Label Head Martin Heyder who totally stick to the vibe yet give it different edges. His Version is deep but is always on point to please the crowd, and rock the Dancefloor...

We hope you enjoy the music!

This vinyl includes a free downloadcode were customers get the
whole digital release (incl. Bonustrack) for free via Facebook !!
Anyhow fresh but still trusts! 4CR comes with his second vinyl - release,
and it sounds fat. "Menschenskind" has delivered with "Tequila" this time
a real Minimal House bomb with catchy tune character. Organic guitar -
samples and fresh Grooves sound like the fruity sweet taste of summer
which drips in the dusty and dry desert. A touch of western, High Noon
and heat under cloudless sky. "Menschenskind" gives us with Tequila an
acoustic place under the sun, the suitable drink and just the pure groove.
Alec Troniq, Sonntagsmusikant and Tinush deliver their great remixes on
top. While Sonntagsmusikant holds the striking theme first a little more
covered and comes along even more minimally, Alec Troniq with a stylish
variation of the subject rocks more offensively forwards. Tinush adds with
his Remix some Coolness and completes this 4CR Release. This package is
the fruity cocktail, which runs down the dusty throat, while the smell of
the sun and desert is omnipresent. Get a drink, and enjoy Tequila!

Irgendwie fresh aber dann doch vertraut! 4CR kommt mit seinem
zweiten Vinyl - Release, und es kommt dicke. Menschenskind hat mit
- Tequila' diesmal einen waschechten Minimal- House Knaller mit
Ohrwurmcharakter abgeliefert. Organische Gitarren - Sounds und
freshe Grooves klingen wie der fruchtig süße Geschmack von Sommer,
der in die staubtrockene Wüste tropft. Ein Touch von Western, High
Noon und Hitze unter wolkenlosem Himmel. Menschenkind gibt uns
mit Tequila einen akustischen Platz unter der Sonne, den passenden
Drink dazu und den puren Groove. Dabei liefern Alec Troniq,
Sonntagsmusikant und Tinush ihre großartigen Remixe on top.
Während Sonntagsmusikant das markante Thema zunächst etwas
gedeckter hält und noch minimaler daher kommt, rockt - Alec Troniq'
mit einer stylischen Variation des Themas offensiver nach vorne.
Tinush packt mit seinem Remix die Coolness und rundet dieses 4CR
Release gekonnt ab. Dieses Package ist der fruchtige Cocktail der die
Staubige Kehle runter läuft, während der Geruch von Sonne und
Wüste allgegenwärtig ist. Schnapp dir n Drink, und genieß Tequila!

UK Garage has ridden a new wave of hype and exposure over the last few years. Artists like Sammy Virji and Interplanetary Criminal have crossed over to the mainstream, while dancefloors across the world have shaken to a switched-up version of the sound that defined the UK underground either side of the millenium.

Hidden beneath a pink balaclava, the mysterious DJ Jackum has lurked this rejuvenated scene while dropping some of the most defining bangers of the period. Often surfacing in the form of moody edits released on Soundcloud, Jackum productions inevitably demolish dancefloors whenever dropped, as they frequently are in the sets of Virji and the other big guns.

Landing on Hotflush, a storied label of UK underground music, ‘Context’ is his most substantial work to date. Six tracks covering the full spectrum of the Jackum sound, from 4/4 heaters to dubstep-adjacent eyes-down bass pressure.

And in the form of opening track ‘Floo’, Jackum spreads his wings into a place that transcends the narrow confines of genre definition. From the UKG building blocks of bass, drive, cut-up vocals, and melody, the track emerges as something both familiar and wholly unexpected - the mark of a producer at the peak of their powers.

‘Clip Empty’ is another highlight of this standout EP. Showing a flair for the cinematic, a breakdown of militaristic snares gives way to a trademark rolling bassline and earworm vocals.

Away from the 4/4 bangers, ‘Take Your Body Higher’ is a guaranteed half-step rewind, while ‘Step Up’ recalls memories of smokey Plastic People sessions of the mid-2000s.

Frenchman Franck Roger seems to be in something of a purple patch right now, with a steady stream of succulent deep house vibes flowing from his studio, most often on Seasons Limited. 'In Motion' is a perfect set builder with its traditional deep house groove infused with whimsical melodies and a sprinkling of percussion that gets you ready for more. 'SH Time' is named after a choice piece of Roger's studio gear and swirls with lovely smeared pads, and '6th Track' closes with some persuasive swing and just the right amount of vocal heat. Early doors, late at night, outdoors in the sun, this is a useful EP for real house heads.

Straight up dancefloor heat again with this monster from Armand Van Helden plus the original disco track that was jacked on the back!

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

The Yummy Fur’s first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band’s original incarnation – fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 – morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown’s life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding.
Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light.
The album begins with “Cogs”, a taunting inquisition from within. As McKeown stages a fight between his id and ego, the tension heats up between conversational guitar lines and minimalist repetition; threatening sing-song melody and real, palpable menace. The band members are forced in tandem only to break apart, sustaining a genuine sense of just-hidden danger throughout the whole record – except, arguably, “Headphones”, a looser moment which sees McKeown make an existential something out of nothing while waiting for someone in the car (“I should have brought a book.../My ears are bleeding from the compression on your album”)
The songs are riots of reference: “Unity Over Europe” is a slyly complex two act play about the Mitford sisters – Diana, Unity, and Nancy, in a wink to the YF canon – smashing tragic biographical detail together with allusions to Thomas Pynchon and Francis Bacon. Pynchon is also lifted to serve “Blue Sunshine”, a collision of school shooters, serial killers and fictional fuck-ups (“Fast forward to Compton/Fast forward to Pynchon/Fast forward to Columbine'”) whose buzzy guitar lines are taunting and confrontational like a smarmy teenager. The innocuous title of “My Lasagne” belies a song that exists in several time periods at once: a visit to see Guernica, 50 people with their backs to the portrait of Dora Maar; the time that Picasso painted from; the Reina Sofia and the dirty streets of the Malasaña; myth-making musicians and the myths they’re riffing off overlapping and leering at each other.
All this could be laboured in lesser hands, but cultural verbosity is second nature to The Yummy Fur, who transform all this source material into songs that are weird, sexy, funny and absurd. Meaning is not happily understood or flattened. Susan Sontag's essay Against Interpretation accompanied McKeown as he wrote this album, and she’s paraphrased in “Semolina Ballerina”, the album’s justification of artistic ambiguity. Thomson’s motorik beat leads a gathering of back-and-forth instrumental phrases – including a wiry contribution on saxophone – embodying the futility of trying to parse something definitive from repeated action. “Listen to the very first thing that’s in your head,” Sontag-via-McKeown commands directly, then slinks sideways: “Interpretation is a conversation in an unmade bed”
The album features two more focused portraits, or at least The Yummy Fur’s version of such a thing. “Wanda” merges the life of filmmaker Barbara Loden and the title character of her semi-autobiographical 1970 feature film, with Loden’s then-husband Elia Kazan joining the fray of no-good men in her film. It’s a mix of adaptation and avant-criticism, with McKeown’s wordplay and mannered pronunciation mirroring the way that non-fiction and fiction twist around each other in the song. The title track is a series of vignettes and impressions from the lives of the band’s ‘90s inner circle, positing painter Mac McNaughton as a kind of Falstaffian ringleader. As with Piggy Wings and the recent single “New T-Shirt”, McNaughton painted the cover of Everybody Talks About The Weather – like the album’s music, the image of a coy girl in a white dress is an uncanny amalgamation of styles, suggestions and references just out of reach, as though seen in an art museum in a dream.
The album ends with two reads of the same frustration. “King of Nothing” is the closest The Yummy Fur will ever get to sludge-rock: the band melts together into a dusty, dreary haze as McKeown drowns in a drudgery of personal struggle (“Two jumpers on in Babylon/And only cats to talk to”) and the rhythmic toppling of heroes (Rowlands, Duvall, Munro). The majority of visible dirt is cleaned off for “Say Hello”, an uncharacteristic depiction of throwing the windows open after a dark night of the soul. Here, the situation is still cold and hard (“When the sun burns gold, but the heat never reaches your fingertips”) but it feels surmountable. Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise. - Claire Biddles (2026)

2026 Repress

With this seventh instalment of retweaked heat, Perro Bueno Edits once again prove that less is more when you know exactly what you're doing. Both refixes strike a sweet spot between respectful crate-digger sensibility and dancefloor punch while updating Afro-funk classics without sanding off their soul. 'TFOM' puffs out its chest with big, bold, playful horns leading the charge as Latin vocals bring some sunshine and funky bass keeps things moving. 'SMPP' slows the tempo, which means more room to luxuriate between the dumpy kicks and appreciate the sharp horns and organic percussion before some raw vocals bring a Brownian funk edge.

K-LONE returns to Wisdom Teeth with “Have a few days off” - a mini-LP of vivid, 4K club music that seeks out precious moments of release in an increasingly restless world.

The record marks his first outing on the label since 2023’s Swells, and in that time - once again - the world has changed. Thousand acre data centres. Multirotor drones. These long hot summers. K-LONE’s music has always played with escapism, but this time the question is: can music and creativity continue to provide escape when the world gets too loud to block out?

Stylistically the record absorbs the full range of K-LONE’s key musical touchstones - from swinging minimal house through to autonomic d’n’b and drifting ambient techno. Many of his established calling cards are on display here: his bright resounding chords, buoyant basslines, and fragmented vocal hooks. The record is full of joy and rapture, yet something feels off. Amongst the glowing melodies is a creeping dissonance. ASMR vocals float in and out of the mix like eerie audio hallucinations, and synths melt and detune as if warped from excessive heat. Amongst the idyll, life creeps in at the edges.

Colourful yet discordant; familiar yet strange. “You’re looking kinda sleepy. Have a few days off.”

Born and raised in Oklahoma City, Jason Scott & The High Heat return with their boldest statement yet on Play Boy, a gritty, swagger-filled collection that pushes the band's signature blend of heartland rock, Americana soul, and country grit into new territory Following the breakout success of American Grin and viral momentum surrounding "Too Good Too Bad," Play Boy captures the chaos, charm, and late-night recklessness that have made the band one of the most exciting rising acts in roots-driven country music. Fueled by razor-sharp songwriting, lived-in storytelling, and the electrifying chemistry that's earned them stages alongside acts like Morgan Wallen, Wyatt Flores, and 49 Winchester, Play Boy leans into the band's wild side without losing the honesty and substance at the core of their music. Equal parts dive-bar confession, desert highway soundtrack, and modern outlaw anthem, the album reflects a band fully embracing who they are: loud, fearless, and impossible to box in.

“An amazing new project…” Tony Minvielle, Jazz FM

“A lush, heatwave-friendly piece of dancefloor innovation…” Clash Magazine


First Word Records is delighted to bring you the debut EP from Ships of the Pharaohs.


Ships of the Pharaohs are a London-based collective led by producer Last Nubian, who’s had releases in his own right on labels like CoOp Presents, Eglo Records & Touching Bass. Blending jazz, soul, bossa nova, d&b and house-influenced grooves, the band also consists of vocalist Achanté, keys player Goldbar & bassist, Dougan.

The 7-track EP kicks off with the high-energy, vitamin D-saturated lead single ‘Sun is Rising’, featuring the guest vocals of brilliant Berlin-based singer Red Bird, who appears on three tracks on this project (‘For You’ and ‘Seasons’). ‘Can’t Quit’ follows on a smooth soulful house/bruk tempo, and invites in the thought-provoking spoken word prose of AKEEM. ‘Seasons’, ‘For You’ and recent single ‘Joys’ add another element to the band’s eclectic take on fusion, leaning heavily into the bossa side of the quartet’s influences. The latter track sees Achanté’s soulful harmonies gracefully float across a warm bed of keys, percussion, guitar picks & synth strings. We take a short jazzy breather on the ‘Interlude’ cut, featuring the resplendent sax of multi-talented Norwegian artist, Bror Havnes, who also features on the outro cut ‘One’ - this one seeing the crew ride out with a sonic salute to jungle/d&b, closing this first opus from the group with the energy levels remaining high.

Tre Wright (aka Last Nubian) explains “Our debut EP is a reflection of who we are, both individually and as a collective. Drawing inspiration from jazz, jungle, bossa nova, house, r&b and the music that's shaped us, we've explored our own interpretation of these sounds and how they come together in a way that feels true to us. It gave us the space to experiment without boundaries, trust our instincts, and create something that genuinely reflects where we are creatively right now.”


Originally conceived to perform Last Nubian material live for a Touching Bass showcase at We Out Here festival in 2023, the project soon took on a life of its own, as the group effort unleashed a unique chemistry & sound of its own merit. Thereafter followed numerous sessions in a studio-converted bedroom of a Brixton flat, developing this new sound. The finishing touches were taken care of at the infamous Total Refreshment Centre in North London, resulting in the formation of captivating new original material, which appears across this first extended release.

Ships of the Pharaohs have additionally performed live across London at Brick Lane Jazz Festival, House of KOKO, Jazz on Wick Festival, Peckham Levels, 91 Living Room & GROW in Hackney. Developing their powerful stage presence has gone hand in hand with the creation of their own material.

The initial singles from this project received praise & support from a variety of DJs, press outlets & tastemakers from the worlds of jazz, soul and clubland, including Shy One (NTS), Tony Minvielle (Jazz FM), Rohan Rakhit (Worldwide FM), Somewhere Soul & Clash Magazine to name a few.


With sonics somewhat reminiscent of Acid Jazz legends Incognito, merged with the class of Nuyorican Soul, and the dynamic fluidity of 4Hero, the 4-piece have cooked up a set of style & flavours uniquely their own, fresh for modern dances, incorporating organic improvisation with more contemporary club sounds.

The Ships of the Pharaohs are about to set sail for what is sure to be an exciting journey ahead.

‘Part 1’ will be released on 12” vinyl & all digital platforms on September 18th 2026.

DJ Support: Danny Krivit, Dj Spen, Tony Humphries, Simon Dunmore, John Morales, Dr Packer, Cj Mckintosh, Kevin Yost, Groovy P, Hector Romero, Souldynamic,

Micky More & Andy Tee are back on wax with Analog Dreams, an exceptional 4-track EP that bridges the gap between classic club heritage and modern dancefloor sophisticated heat. Far from a simple collection of loops, this release delivers four fully realized, 100% original compositions crafted alongside top-tier collaborators.

The title Analog Dreams says it all. In a digital world dominated by sterile, point-and-click production, this EP feels like a vivid, living dream for vinyl purists. It is a sonic love letter to the warmth, depth, and texture that only real studio hardware, live instrumentation, and analog mixing can provide.

Product Text:

When we go searching for a Black avant-garde, we have to be prepared to look in unexpected places. The route to a Black avant-garde involves walking down – what some might consider – peculiar highways. Where they see strangeness, a road leading them nowhere, we see nothing but beauty. The paths Darren Cunningham went down, the highways he took to make Actress, are a chapter in the story of the Black avant-garde. Cunningham the footballer. Cunningham the Wulfrunian. Cunningham the ex-footballer. Cunningham the DJ. Cunningham the Londoner. Cunningham the producer. Cunningham the painter. Cunningham the writer. Cunningham the composer. This is where the Black avant-garde in Britain is made. This is where you have to go to find it.

Across an expansive discography of more than ten LPs, Actress has created his own arcane language of hermetic references and inter-dimensional electronic composition.

Radical Frame arrives 18 years since debut album Hazyville, and it feels like an apotheosis. The image realised. We get the full gamut of Actress signatures. Short bursts of broken down music. Tiny sketches of zoomed-in sound. Refracted dance floor heat. And we get more.

Perhaps Radical Frame is a container for everything that Cunningham has built so far. A frame he is handing over to the next in line. The next artist to make their own way in the Black British avant-garde.



Wenn wir nach einer schwarzen Avantgarde suchen, müssen wir bereit sein, an unerwarteten Orten zu suchen. Der Weg zu einer schwarzen Avantgarde führt - wie manche finden mögen - über ungewöhnliche Pfade: wo sie Fremdheit sehen, einem Weg, der nirgendwohin führt, sehen wir nichts als Schönheit. Die Wege, die Darren Cunningham beschritt, die Highways, die er befuhr, um Actress zu erschaffen, sind ein Kapitel in der Geschichte der schwarzen Avantgarde. Cunningham, der Fußballer. Cunningham, der Wulfrunianer (Anm.: Einwohner von Wolverhampton). Cunningham, der Ex-Fußballer. Cunningham, der DJ. Cunningham, der Londoner. Cunningham, der Produzent. Cunningham, der Maler. Cunningham, der Schriftsteller. Cunningham, der Komponist. Hier entsteht die schwarze Avantgarde in Großbritannien. Hier muss man hingehen, um sie zu finden.

In einer umfangreichen Diskografie von mehr als zehn Alben hat Actress seine eigene, geheimnisvolle Sprache aus hermetischen Referenzen und interdimensionalen elektronischen Kompositionen geschaffen.

„Radical Frame” erscheint 18 Jahre nach seinem Debütalbum, „Hazyville”, und fühlt sich wie eine Apotheose an: das Bild ist vollendet. Wir bekommen die ganze Bandbreite von Actress' Markenzeichen zu hören: Kurze Ausbrüche reduzierter Musik, winzige Skizzen von vergrößertem Klang.

Vielleicht ist „Radical Frame“ ein Gefäß für all das, was Cunningham bisher geschaffen hat. Ein Rahmen, den er an den Nächsten weitergibt. An die nächsten Künstler:innen, die seinen eigenen Weg in der britischen Avantgarde der Schwarz.

Product Text:

When we go searching for a Black avant-garde, we have to be prepared to look in unexpected places. The route to a Black avant-garde involves walking down – what some might consider – peculiar highways. Where they see strangeness, a road leading them nowhere, we see nothing but beauty. The paths Darren Cunningham went down, the highways he took to make Actress, are a chapter in the story of the Black avant-garde. Cunningham the footballer. Cunningham the Wulfrunian. Cunningham the ex-footballer. Cunningham the DJ. Cunningham the Londoner. Cunningham the producer. Cunningham the painter. Cunningham the writer. Cunningham the composer. This is where the Black avant-garde in Britain is made. This is where you have to go to find it.

Across an expansive discography of more than ten LPs, Actress has created his own arcane language of hermetic references and inter-dimensional electronic composition.

Radical Frame arrives 18 years since debut album Hazyville, and it feels like an apotheosis. The image realised. We get the full gamut of Actress signatures. Short bursts of broken down music. Tiny sketches of zoomed-in sound. Refracted dance floor heat. And we get more.

Perhaps Radical Frame is a container for everything that Cunningham has built so far. A frame he is handing over to the next in line. The next artist to make their own way in the Black British avant-garde.



Wenn wir nach einer schwarzen Avantgarde suchen, müssen wir bereit sein, an unerwarteten Orten zu suchen. Der Weg zu einer schwarzen Avantgarde führt - wie manche finden mögen - über ungewöhnliche Pfade: wo sie Fremdheit sehen, einem Weg, der nirgendwohin führt, sehen wir nichts als Schönheit. Die Wege, die Darren Cunningham beschritt, die Highways, die er befuhr, um Actress zu erschaffen, sind ein Kapitel in der Geschichte der schwarzen Avantgarde. Cunningham, der Fußballer. Cunningham, der Wulfrunianer (Anm.: Einwohner von Wolverhampton). Cunningham, der Ex-Fußballer. Cunningham, der DJ. Cunningham, der Londoner. Cunningham, der Produzent. Cunningham, der Maler. Cunningham, der Schriftsteller. Cunningham, der Komponist. Hier entsteht die schwarze Avantgarde in Großbritannien. Hier muss man hingehen, um sie zu finden.

In einer umfangreichen Diskografie von mehr als zehn Alben hat Actress seine eigene, geheimnisvolle Sprache aus hermetischen Referenzen und interdimensionalen elektronischen Kompositionen geschaffen.

„Radical Frame” erscheint 18 Jahre nach seinem Debütalbum, „Hazyville”, und fühlt sich wie eine Apotheose an: das Bild ist vollendet. Wir bekommen die ganze Bandbreite von Actress' Markenzeichen zu hören: Kurze Ausbrüche reduzierter Musik, winzige Skizzen von vergrößertem Klang.

Vielleicht ist „Radical Frame“ ein Gefäß für all das, was Cunningham bisher geschaffen hat. Ein Rahmen, den er an den Nächsten weitergibt. An die nächsten Künstler:innen, die seinen eigenen Weg in der britischen Avantgarde der Schwarz.

Almost Starlight is the extraordinary new album by Jem Finer (hurdy-gurdy) and John Matthias (violin). Produced by Jay Auborn and recorded in a Medieval Church, deep in the Devon countryside, in the Summer of 2025, the music is suffused with light, heat and the natural acoustics of the space.

The album defies categorisation; forced to pigeon hole it the nearest approximation would be ‘modern-classical’ but this ignores its myriad influences and explorations which encompass inspiration from Arvo Pärt through Terry Riley to Can via Delius, Alice Coltrane and a subtle reimagining of electronic music played purely with acoustic instruments, bending and shaping their possibilities in surprising and unexpected directions.

Jay Auborn plays cello on a number of the compositions and his production opens up and expands the music through a skilled and imaginative use of space, paying homage to the atmosphere of the church; ‘the sound evolved… chasing the imagined acoustics of that church in my mind; a place for worshipping light with sound.’

Almost Starlight will be released on the 4th September by Touch, available as CD, vinyl, cassette and on streaming platforms.

BIOS OF THE ARTISTS

Jem Finer

Since studying computer science in the 1970s, Jem Finer has worked in various fields, including photography, film, experimental and popular music, sound recording, sculpture and installation.

Much of his work relates to systems, extended processes and extremes of scale and includes Longplayer, a musical composition repeating once every 1000 years, and the Gurdy and Hurdy stones, ancient rocks set upright in fields in East Sussex and Gloucestershire with Jimmy Cauty. Their work together includes a band, The Standing Stones, whose most recent release is Twa Sisters, featuring Iona Zajac and Daragh Lynch.

He was a founder member of The Pogues, with whom he has played, written and recorded since 1981.

Recent music revolves around a fascination with the hurdy-gurdy and includes hrdy-grdy, a cassette released by Benedict Drew’s Thanet Tape Centre. His latest collaboration, with John Matthias, Almost Starlight, will be released by Touch in September 2026.

John Matthias

Since studying Theoretical Physics in the late 1980s and 1990s, John has created music and sound in many forms, including for installation, popular music, music for film, for dance and orchestra.

Much of John’s work plays with the physics of complex systems but he is also greatly influenced by stories and song. John has collaborated with Matthew Herbert, Stanley Donwood, Jay Auborn, Radiohead, Thom Yorke, Nick Ryan and many others to create music with a variety of textures and sonorities. He is particularly interested in simplicity and form and how context informs the way music sounds.

His latest collaboration, with Jem Finer, Almost Starlight, will be released by Touch in September 2026.

Samosa Records brings the heat just in time for the summer months with Volume 3 of the electrifying ‘Earth, Wind & Funk’ series – landing a slick four tracker that will relieve you of your socks and undergarments…

Kicking Vol.3 off is Roberto Telll with ‘It’s Magic’ – an unstoppable, bass driven leviathan of a track with perfectly balanced vocals and groovy, punchy beats. ‘It’s Magic’ straddles that sweet spot of disco flavour expertly infused with a peppery funk spice. Mesmerising.

Track 2 sees the welcome return of label favourites and fellow Italian groove machine Dirtyelements with ‘Get On Down’ (De Gama Re-Groove). The mid-tempo calypso rhythm on this slice of leg-wobbling perfection is outrageously infectious. Dirtyelements has yet another solid, stomping disco builder bursting out of the lab with a mission to cause mayhem.

On Side B, Marco Corona swoops in with his 126bpm sonic torpedo ‘Eat Me!’ From the start, ‘Eat Me!’ drums its way into your subconscious with a powerful bass drum and tribal tinted percussion. Before you know it, you’re over the border into house territory – expertly picked vocal loops and builds make this one insanely irresistible.

Closing out the EP with ‘Hey Jee’ is Italian producer extraordinaire Frank Virgilio. Step into Mr Virgilio’s taxi whilst he whisks you through downtown Manhattan en route to the best night out in town. Soaring strings, slick bass work and nimble beats are the dress code – but, don’t worry, Frank always gets you in.

Raising the Samosa bar yet again, ‘Earth, Wind & Funk Vol. 3’ is a cool antidote for those hot summer nights under the stars – best served with your favourite cocktail.

They live! If this summer’s endless bout of heatwaves seems an odd setting for a new Altar Of Eden record, maybe we should consider that the fast-accelerating destruction of life on Earth is an appropriate setting for more deathrock. The eagle-eyed among you might recognise guitarist Ben Redman from recent lineups of symphonic noiseniks …And You Will Know Us By The Trail Of Dead, while vocalist Albert Efraim has been making a thrillingly unholy racket with Texan hardcore faves like the Creamers and Nosferatu - and they both played together in gothed-out sensations Altar Duata before that band’s untimely demise. Altar Of Eden have thus far produced two mighty LPs of smartly chilling post-punk for Drunken Sailor - 2020’s wondrous The Grotto Screams and 2022’s superb follow-up Chimeras - but now they return with a sequel to their debut: The Grotto Screams II.

In keeping with their previous offerings, it’s superb. Redman’s guitar is brittle and minimal, but lurches into eardrum-lacerating strafes of deafening, brutal noise without warning, while Jake Cloud brings driving, pulsating basslines to the fore, dripping with the influence of Killing Joke’s Youth as they hold it all together somehow. Efraim intones his lyrics solemnly over the top, drenched in reverb and tucked deep into the mix; as much a texture as a means of delivering hooks. He’s cited the poetry of Jean-Pierre Duprey and Rene Daumal as influences in the past, and tracks like The Erasure and Light And Shade certainly contain their own suffocating sense of surrealism and obfuscated reality. It all builds to the epic finale of closing track The Moon, which handles their signature tricks in moodily grandiose fashion - a bleakly compelling version of post-punk that sears and soars even as it chills the heart. Arguably Duprey’s most famous line goes, “I shouldn't have got stuck in this galaxy,” and as humanity brings about its own destruction, it’s worth suggesting that this applies to us all. But at least Altar Of Eden bring a hell of a soundtrack while we all burn.

Turn the page to a warmer chapter. The second instalment of our Seasons 2026 collection has arrived. This carefully curated compilation captures the golden warmth of the season, the laid-back rhythms of lazy afternoons and the soothing atmosphere of endless summer days. Packed with hours of gentle summer lo-fi, this album is your perfect companion for soaking up the sun, focusing on your work sessions, or unwinding after a long day.

This is a concept record that reflects on events that have had a calculable effect on a generation:
‘’By 83 and 84, it felt that nuclear war was going to happen. Not could happen but was going to.’’
Stephen Brotherstone
"What would you do in the event of a Nuclear war?"
I remember having discussions about what we would do when we heard the four minute warning siren. We would raid the sweet shop. I was 8 or 9 years old. The absurdity of this vivid memory encapsulates the concept of the record. It would take at least four minutes to get to the shop!
The record starts with an early memory of circling a church on a Raleigh Budgie (the smaller lesser known iconic Chopper bicycle) in 1981 and ends with staring up at a clear sky on Oldham Lows in 1990.
The record identifies and plays with the effects of an underlying fear of oblivion on a generation of children, but also society as a whole: The pieces take in media and government propaganda. Machinery (nuclear submarines) and buildings (nuclear bunkers) but also everyday activities of the civilian population, activities such as shopping, clubbing and staring at the sky. Thematically, the record is made up of personal memories mixed with historical events.
Instruments are mainly from 1980s. DX7 and 808 feature predominantly. The pieces feature numerous melodic motifs that develop and intertwine underlying ideas of espionage and layers of secret messaging. It also mirrors the ways in which governments and civilians interact. Decisions being made in the name of defence whilst people go about their daily lives. I am exploring the everyday experiences of the masses whilst major political decisions are taking place. For example, shopping on a Saturday afternoon versus heated Cold War tensions in 1983.
Although taking place conceptually in the years 1979-1991, this record mirrors current events. History repeating. It also mirrors the helplessness or maybe some oblivious everyday normality state that we adopt as a community whilst major political decisions are being made.
The idea that life goes on oblivious to larger scale politics, or on the other hand, the idea that we are all very aware but in a state of unreal normality. Adam Curtis goes into great detail about such things in his film 'Hyper Normalisation'.

Scruniversal's LSD (Local Sugar Diggers) series continues its deeply satisfying mission of sending trusted diggers into the field and letting local talent reveal all. This time Los Protos heads to Brazil and resurfaces with DJ Elohim, a native digger and producer with the sharp editorial instinct the series is known for. Two edits, two sides, two jewels: 'Eu Quero Ver Voce Se Remexer' collides vintage Brazilian groove with funky heat, while 'E Congo' delivers the kind of free-flowing and sunny rhythmic energy that only comes from Latin America. Another impeccable entry.

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

Back on vinyl, We're Already There is Mazarin's cult-favorite 2005 masterpiece. Pressed on rusty red vinyl and housed in a deluxe gatefold sleeve, this essential reissue brings renewed attention to one of the most overlooked and rewarding psychedelic indie albums of the 2000s. Originally released in 2005, We're Already There is the acclaimed second album by Mazarin, the project led by Quentin Stoltzfus. Blending lush psychedelic textures, melodic indie rock, and intricate studio craftsmanship, the album occupies a unique space between dream pop, chamber pop, and neo-psychedelia, earning a devoted following among fans of adventurous independent music. Widely regarded as the band's defining statement, We're Already There showcases richly layered arrangements, warm analog production, and timeless songwriting that continues to resonate two decades after its original release. Long sought after on vinyl, the album remains a hidden gem of the mid-2000s indie landscape. This reissue is presented on rusty red vinyl and housed in a gatefold sleeve, offering the definitive vinyl edition of a modern cult favorite. Combining strong collector appeal with enduring musical relevance, We're Already There is an essential catalogue title for retailers serving indie, psychedelic, and alternative music audiences.

The Spanish Hace Calor Crew are back once again with two more classics, freshly tweaked with intros and outros for seamless mixing in your DJ sets. This time, they bring the heat with timeless cuts from Special Ed and Ms. Dynamite, guaranteed to spice

Bridge was to be the Edinburgh-born Kieran Warren’s debut release circa 1994 on Metatone - a short-lived techno label by J. M. Adkins (Electro Music Union) and Damon D'Cruz (Jack Trax, Chill). As fate had it, Metatone folded before the album got printed, and the music was lost in time. That is, until Adkins tipped the Cold Blow boys off while they were working on his anthology, the 2019 double LP "Electro Music Union, Sinoesin & Xonox Works 1993-1994".

Atonal’s Cithare EP last year was the world’s first glimpse at the fuzzy, warm techno archives of Kieran Warren. As a sequel, Cold Blow has restored and compiled their vision of the ‘94 “Bridge” while tapping into the same demo archives that were being scoured through by Metatone in their day.

Essential for the fans of early Aphex Twin, the album moves between warm melodic techno cuts and nostalgic ambient pieces before reaching the grand finale of Arkanoids, an 8-minute ambient epic straight from the school of Selected Ambient Works 2.

Housed in full, cosmic artwork designed by Ed Cheverton. Mastered by Keith Tenniswood.

Original Jazz Classics celebrates John Coltrane’s centennial with this release of the mono edition of Coltrane. Originally released on Prestige in 1957 the album features Coltrane alongside Johnnie Splawn, Sahib Shihab, Red Garland, Mal Waldron, Paul Chambers, and Albert “Tootie” Heath. This new edition of the album is released on 180-gram vinyl pressed at RTI with all-analog mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.

Katatonia released their seismic opus, ‘The Fall Of Hearts’, in 2016 to chart & media success; reaching #1 in the USA Heatseekers & #5 in the USA Hard Rock charts, #2 in Sweden's Hard Rock chart, #3 in Canada's Hard Rock chart, #4 in the UK's Rock & Metal chart, #6 in Finland, #11 in Germany & saw success in Australia with their first ever chart entry.

Katatonia had worked tirelessly touring the world since 2012's ‘Dead End Kings’, as well as expanding their fanbase through two albums on Kscope, Peaceville's sister label. 2013 saw the release of ‘Dethroned & Uncrowned’, which exploded the core of the songs on ‘Dead End Kings’ creating new moods & textures. Both releases illustrated the band’s journey toward ‘The Fall Of Hearts’, which featured a more progressive sound, a sound which provoked The Guardian to refer to the band as "bridging of the gap between metal & modern prog."

‘The Fall Of Hearts’ was the first record to feature new drummer Daniel ’Mojjo’ Moilanen with the addition of their then recently recruited guitarist Roger Öjersson (Blindead 23, ex-Tiamat), who sprinkled some blistering solos on the album. With this release, Katatonia continued to push their musical boundaries beyond the metal scene whilst drawing in new fans from across the musical spectrum, putting them on par with peers such as Opeth & Anathema, cementing their place as one of the most revered & cherished bands in modern heavy music.

This special & limited tenth anniversary pressing of 'The Fall Of Hearts' is presented on double pearl dawn vinyl, & includes gatefold sleeve.

Fij makes a vibrant return with his new single "Don't Bring Me Sunshine," a bittersweet, high-speed ode to independence and renewal. Described by Fij as an "anti-love song," "Don't Bring Me Sunshine" flips the script on romance. Its sardonic, bah-humbug lyrics are set against a rush of euphoric energy - inspired by the simple thrill of driving fast with the windows down, music blaring, and summer stretching endlessly ahead. As Fij puts it: "Who needs love when you've got a full tank of petrol... and the whole of Summer lying ahead on the heat-hazed open road?" The track is the latest preview of his long- awaited debut solo album, due this September via Tip Top Records. It signals a clear shift in tone and tempo. After years marked by introspection - shaped by personal upheaval, frontline work during the pandemic, and his role as a funeral celebrant - Fij has hit reset.

Re- embracing the electric guitar, raising the BPMs, and rediscovering joy, his new material blends the fuzzed edges of dream-pop with elements of pop and electronica, all delivered with his signature wit and melodic finesse. Fij first emerged in the early 90s with Adorable, whose debut album Against Perfection (Creation Records) became a cult favourite, earning multiple NME accolades and topping the Indie charts. The band's legacy continues to resonate, with artists citing their influence and figures like Noel Gallagher famously calling their label's decision to drop them a major mistake. Following Adorable, Fij explored new sonic territory with Polak and later collaborated with Terry Bickers of The House of Love, producing critically acclaimed releases that reaffirmed his reputation as one of Britain's most distinctive voices. His baritone - often compared to Lee Hazlewood, Lou Reed, and Richard Hawley - remains as rich and compelling as ever, now carrying a renewed urgency.

2026 Repress

Knob twisters Biesmans & Johannes Albert are back at it with another sun-drenched late summer weapon. This time they shine a "Tangerine Beam" straight onto the dancefloor. Expect a cheeky disco spark that might remind you of something at the core, bouncing rhythms, and a melody so infectious you'll catch yourself humming along after the first round. Both playful and relentless, "Tangerine Beam" connects the dots between timeless disco heat and modern club thunder. One spin and you'll know: this beam is unstoppable. For the vinyl fan, there will be an orange 12" even. When life gives you tangerines...

Summer doesn't announce itself. It creeps in through cracked windows and lingers on skin long after the sun sets. It asks nothing of you but surrender. The South London DJ and producer, born Wilf Auty, raised in the fields of Devon before migrating to the city's sprawl, has crafted four tracks that move like heat haze off tarmac: shimmering, hypnotic, impossible to rush. This is house music stripped of its impatience. Rolling rhythms push forward with the inevitability of tide. Driving basslines push through the mix like warm air through an open car window. Something that feels like the longest day of the year. That moment when you realise the light's been golden for hours and nobody's checked the time. Wigs' sets at Meanwhile have become the stuff of whispered recommendation: progressive, modern, emotionally intelligent selections that build through patience rather than force. This EP is the studio distillation of that philosophy. Four tracks. No filler. Each one: unfurling. The reward comes for those who wait. The groove reveals itself in layers. The pulse becomes a feeling you can't quite name but recognise immediately, that elastic stretch of a summer evening when time loses its edges.

or the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

After her featurings on the king of funk' tracks, Dabeull (DX7, You & I, Day & Night), the french r'n'b singer Holybrune returns with a solo EP 'JoyRide'. Sung in English and French and composed by Dabeull and Rude Jude, this new project is a 90's funk drive into the summer heat. Out on eponym label : Dabeull Records.

Souldynamic celebrates the 10th year anniversary of their all time classic “Equatoriale” with two special re-edited and re-mastered versions, including an instrumental mix and released on vinyl format only on Excedo Records.

“Equatoriale” became Souldynamic's biggest track after the release of the legendary video showing Lil Louis playing it at Concrete in Paris with the acapella of Chuck Roberts - My House.

The 12 inch record also includes two more fresh new tracks which make this record perfect for the summer heat.

With bloated souls and skeletal bodies the three mad kings of the end times walk among us, with empty eyes and insatiable hunger. Innocence thieves, blood collectors, bastard children of archaic dynasties built upon the broken bones of the weak. Their consorts are the rotten and the dead, their champions soulless, empty vessels gasping for validation as they bathe in the nectar of inflicted pain. They lead us not into temptation, but into degradation and the all-consuming fire. Born in the heat and shadows of the Australian underground, in Brisbane in 2014, Graveir have carved out a stronghold for themselves in their homeland's black metal scene. Bleak, violent and uncompromising, their music possesses a powerful individuality that sees them following their own path, lone wolves in a world of people searching frantically for a voice to tell them how to think and what to believe. After their powerful 2016 debut, Iconostasis and its critically acclaimed successor, King Of The Silent World, hailed as 'captivatingly hypnotic' by Metal Bite, Graveir are poised to unleash their third set of black prophecies - The Festering Triad. The Festering Triad begins with the sinister 'Lords Of Misrule', rising from the silence with guitars like an insect swarm before a lugubrious, dolorous shift into life and movement. The song holds you on the edge of oblivion, a constant aura of threat radiating from its broken beauty. There's a powerful underlying melody too, but it's corrupted and riddled with disease. And while this unsettling and disorientating introduction to The Festering Triad is still crawling through your veins, 'A Futile Exhortation' bursts into flame - as implacable and unstoppable as the passage of time, formed from the seething darkness on the edge of chaos and touched by something ancient and primal. You are now in the heart of darkness, jagged riffs circling like atavistic, feral presences, hammering blast beats disrupting natural rhythms. Nothing is as it should be. Nothing stays within the expected boundaries. This is a malicious attack on the laws that govern reality. 'A Thief In The Heart Of Man' flies at you in a howl of rage and bloodlust; you can feel its desperate need to tear you apart and the inherent danger is exhilarating. Title track, 'The Festering Triad' arrives swathed in an aura of decaying majesty, a triumvirate of wickedness wreathed in flame, marching onwards, entwined in black briars of unease - on into twisted soundscapes of fear and dizzying anxiety, through boiling malignancy and relentless intensity to the finale of 'The Rite Of Degradation', where portentous grandeur and bestial hunger combine in bewildering, schizophrenic fury. This album is fuelled by a determination to leave you broken, beaten and humbled - and it succeeds, absolutely.

Creatures of the Night is officially part of the vinyl community.

To celebrate this great debut as part of the label, we have Rubinskee & Soos with this EP that brings us summer vibes and heat from Mexico. Additionally, there's a remix by Running Hot, delivering house as it is a summer hit!

Whatever The Reflex is on at the moment, we want some - he's rolling out the jams left, right and centre across several different styles. For this drop, he has revisited his own revision: ten years after first dropping this and without countless plays from legends like Kerri Chandler, he retouches a disco-house fusion classic that rides big vocal hooks and smooth, breezy grooves. On the B-side he takes aim at another soulful gem and go-to DJ favourite with real invention. 'Nobody' has persuasive drum breaks and slithering synths that shimmer like heat waves and allow the acing, singalong vocal room to work its magic up top.

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

In March 2026, Morrissey released his 14th studio album, Make-up Is A Lie. One of the highlights from that album, which was recorded with producer Joe Chiccarelli, is the richly melodic 'Notre-Dame'. On this deluxe 12" we get said single plus an unreleased orchestrated version of it, with luxurious strings recorded - appropriately enough - in Paris. To top it off, there's 'Hello Hell' and 'Happy New Tears', bonus tracks from the new album that are available on vinyl for the first time. It's encouraging to see Morrissey hitting this kind of form and keeping the heat on his latest album.

Blending world-class musicianship with undeniable dancefloor energy, this release marks a bold evolution in Sean Khan’s sound — stepping beyond his signature jazz roots into a rich fusion of house, disco, and jazz-funk.
The A-side delivers a powerful, vocal-led jazzy house anthem, with Omar’s unmistakable voice floating over lush live keys and deep bass grooves. Driven by refined production and crafted for maximum impact, Stéphane and Alex Attias bring a sophisticated yet infectious energy designed to ignite dancefloors. Flip it over, and the B-side turns up the heat — a killer disco-house remix by Alex Attias, powered by tight programming from Stéphane Attias and vibrant keys from Sohan Wilson. Already catching attention from DJs, this track is built for late-night moments and peak-time reactions. The EP also features “As The Tree Grows” — a soulful, live-inspired journey through jazz-funk and disco textures. Warm, groovy, and deeply musical, it channels the spirit of legends while staying fresh and modern — perfect for both listening and dancing. Three moods. One release.cCrafted for the dancefloor. Designed for the soul.