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Written and performed entirely by ELLiS
D himself (aka Ellis Dickson) at Hackney Road studios with Shuta Shinoda (Hot Chip,
Jenny Beth), 'Spill' is a seven song jetstream ofrocket-fuelled, goth-tinged glam-punk,
infested with 21st century paranoia:
"The Spill EP is a not so subtle expression of conflict between personality and
character", Ellis explains, "An uneasy alliance of nervous apprehension and joyful
abandon. Throwing myself dramatically onto the funeral pyre one moment, only to get up
and frantically twist my limbs about the next."
The brainchild of drummer-turned-solo musician Ellis Dickson, ELLiS.D has garnered a
growing reputation in the past 12 months for a tireless touring schedule and
increasingly electric live shows, recently described as"one of the most exhilarating live
sets I've seen in months."byFar Out Magazine.
Backed by continuously shifting set of Brighton musicians - in addition to playing
drums across the world with Fat Dog andJohnny Borrell's Jealous Nostril project - his
solo show has performed with the likes ofRazorlight (at Brighton Dome and Eventim
Apollo) The Goa Express , Flip Top Head , Melts , Plantoid, Vinyl Williams , Youth
SectorandThe DSM IV.

Leila Gamal’s ‘Abaleeh Abalingi’

At the height of Pan-Arabism, when the United Arab Republic fused Egypt and Syria in a fleeting but bold experiment, a new wave of popular music was emerging—vibrant, infectious, and universally danceable. Among its lesser-known stars was actress Leila Gamal, whose voice—delicate yet rich with longing—embodied the golden era of Egyptian cinema. Born in Alexandria to Syrian roots, Gamal’s vocals were a magnetic blend of sweetness and passion, with a timeless allure that echoed the silver-screen sweethearts of her time.

Abaleeh Abalingi pulses with the hypnotic drive of funky organ riffs, reminiscent of the blind visionary Ammar El Sheriyi, creating a sound both cinematic and undeniably catchy. The delicate lyrics by Khairi Fouad place the track firmly in the lineage of the Middle East’s most iconic pop divas, from Angham to Nawal El-Zoughbi who he subsequently wrote for. This reissue, lovingly remastered, brings this long-lost gem back to life, where it belongs—spinning on turntables, teasing dance floors, and transporting listeners to Egypt in the late sixties.


Adel Osman’s “Oriental Eyes”

Oriental Eyes captures the essence of the 60s Egyptian Franco-Arab movement, blending Western (often jazz) influences with Arabic melodies to mesh mystique with sensuality. Osman’s commanding yet delicate vocals deliver the bilingual lyrics with captivating sincerity, his voice effortlessly gliding over the swells of the arrangement. The trumpet, possibly connecting him to Zaki Osman of Salah Ragab’s legendary Cairo Jazz Band, adds a layer of flair, enriching the track’s Tarantino-esque eclecticism. Now remastered, ‘Oriental Eyes’ is not only a nostalgic gem but a timeless reminder of the boundary-defying spirit that defined the 1960s musical landscape.

Given the ongoing war efforts against Israel, this record wasn’t pressed by Sono Cairo till much later in 1975 once Egypt had recaptured the Sinai and restored national pride. Sono Cairo (Sawt el-Qahira) was the first Arab-owned and by far the largest record label in the Middle East, amassing an unmatched catalogue of music. With exclusive rights over much of Umm Kulthum’s works, Sono Cairo played a crucial role in disseminating the sounds of Arab Nationalism and projecting Egypt’s soft power across the region.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Sono Cairo

Maggid Tewfik – Mazzika Nicab Parts 1 & 2:

Released in 1973, Mazzika Nicab by Egyptian film director and iconic figure Maggid Tewfik is a trippy instrumental journey into the experimental realms of baladi music. Known for his prolific career as a director and DOP in over 30 Coptic films, Tewfik’s composition, split in two parts, presents a moody yet undeniably cheeky tune that is unlike anything found in Egyptian music over the ages.

The track is a hypnotic blend of Eastern rhythms and Latin grooves, featuring an early drum machine that guides the track through its jubilant and stormy atmosphere. This mechanical beat is paired with funky garage sounds, creating a psychedelic fusion that evokes images of an epic cinematic score, where belly dance meets the raw energy of late-60s experimental rock. Belly-dance sci-fi perhaps..?

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Sono Cairo

Georgette Sayegh & Melhem Barakat – Belghi Kull Mawaidi & Instrumental:

Finally, hopping across from Egypt to Lebanon for this infectious number, Georgette Sayegh delivers what some consider her magnum opus in a captivating duet together with Melhem Barakat, and on the flipside a stripped-down instrumental version that’s equally catchy.

Georgette Sayegh is a legendary Lebanese singer and actress known for her tender and dulcet voice that echoed the grace and beauty of the inimitable Fairuz yet carried its own unique warmth. Her passion for collecting vinyl at an early age formed her eclectic musical palette, and she eventually caught the eyes of the Rahbani brothers and played the lead role in a monthly play written by Fairuz’s son, Ziad. Georgette’s household classic "Yay Yay Ya Nassini” shot her to stardom across the Arab world in the 1970’s, and till this day carries the exact same nostalgia of a Lebanese summertime anthem – flirtatious, jolly, and unfettered. In Belghi Kull Mawaidi (I cancel all my appointments), Sayegh’s voice entwines with compatriot and fellow household staple, Melhem Barakat in an emotional display of longing and depth - her voice delicate yet powerful, effortlessly blending with Barakat's commanding baritone.

The instrumental version on the flipside (surprisingly a stereo mix) reveals a highly catchy arrangement that is lush and emotive, driven by strings that glide smoothly through the melody, while brass instruments add a touch of drama. The rhythm section, punctuated by a steady percussion, anchors the track, allowing the interplay of instruments to build a sense of urgency and longing, accurately reflecting the struggles and emotional resilience that defined Sayegh’s own life.

This reissue, remastered with painstaking care, brings both versions of Belghi Kull Mawaidi back to life, making it an essential addition to any avid listener, DJ or collector’s shelf. It captures the timeless beauty of two of Lebanon's most cherished musical icons, their voices and instruments merging to create a track that resonates through the ages.

Muhammad Al-Najjar
London, April 2025

credits
Audio restoration and vinyl mastering: Colin Young
Lacquer cut: Timmion cutting lab
Sleeve and label artwork: Grotezk Studio
Under License of Voix de L'Orient

Celebrating the 20th anniversary of its original release, Robyn returns with a special edition 2-LP vinyl reissue of her iconic 2005 self-titled album. Widely regarded as a pivotal moment in modern pop, this anniversary edition is pressed on a coke bottle-clear vinyl using the artwork from the Record Store Day release in 2005 which was limited to 2k. A must-have for longtime fans and collectors alike, it pays tribute to an album that helped shape the future of pop music.

Nach seinem Comeback mit „The Healer“ (1989) begab sich John Lee Hooker zu Russian Hill Recording in San Francisco und The Record Plant in Sausalito, um einige seiner bekanntesten Songs neu zu
interpretieren, darunter „Boom Boom“, das diesem Album seinen Titel gibt. Eine Starbesetzung zeitgenössischer Bluesgrößen nahm an den Sessions teil, darunter Charlie Musselwhite, Jimmie Vaughan, Robert
Cray und Albert Collins.

Bodhi, the Cardiff-based production team, return to Hotflush Recordings with a follow-up to last year’s standout Laurus Ascending extended play.

Having emerged in 2012 with a slew of breathlessly-received edits and subsequent releases on labels including Future Classic and Rinse, the pair took a 4-year hiatus in 2017, returning with an invigorated sound in 2022. Recent releases on Hotflush and dh2 have brought the duo back to the forefront of the UK’s cutting edge music scene.

‘Corrupta’ is six tracks of bass-inflected, garage-influenced beat science. Opener ‘dwndwn’ sets the stage with a genuine wtf beat-drop moment. That vibe is continued on the shuffling ‘Silian Rail’.

Dancefloor smasher ‘Okinobi’ is a hat-tip to the recent Speed Garage revival, while T.O.P. is a classic slice of 2-step bassline pressure. Bodhi’s techno influences are also present with electro breaks hybrid of ‘Without You’ and the 8am Berghain vibes of ‘Bellcurve’.

This is another long-form statement of intent from some of the most inventive club producers in the game right now.

Support from Jamie xx, Lee Gamble, I.Jordan, dBridge, Machinedrum, DJ Haus +++

Unearthing old gems, remastering and bringing them back to the forefront is what Private Parts are up to for release number 07 in the catalog. Original London Tech masters Rob Pearson & Dave Mothersole originally released Wanting You in the early 00’s, but with the extreme prices on Discogs it seemed like the right choice to get this re pressed for your pleasure.

Wanting you is everything you ever wanted from those timeless sounds of London Tech. Dubbed out vocals, tribal rhythms, pulsating acid lines and a groove to keep you locked right in.

Flipping to the B, and the biggest thank you to Rob himself for spending weeks searching old DAT tapes in his loft to find the original pre master of the driving remix from the late Iteration X. They don’t come more heads down, and hypnotic than this. Throbbing bass stabs, luscious chords and in true Iteration X style, a roller that you could keep you shaking for days on end.

It only seems fitting to dedicate this re issue to Simon Copleston, Mr Iteration X. Thank you for the music!

After years of friendship and sound fragmentation, Felipe Valenzuela and Federico Molinari have succeeded in capturing and distilling their unique musical perspective into a single frame.Throughout this process, these two minds from across the Andes have developed numerous productions with a broad, multidirectional genre range.This release features four tracks, each with its own distinct identity. The A1 track, FORCED TO THE SCALES, which lends its name to the EP, blends elements of Spanish classical music with a futuristic edge, seamlessly adapting to various moments within a set.The second track on side A, RAPS TIGHT, is an experiment born from the same session, where a subtle sensitivity is expressed through a a slow beat, enveloped in a harmonious world.On side B, 503 emerges from a different creative process, combining two divergent paths that naturally intersect, resulting in a track full of energy and dynamism.The EP closes with DEAD MAN, a one-shot recording that, through its raw spontaneity, encapsulates the conclusion of a fragmented journey within a frame full of versatility.

Müne isn’t just a label—it’s a sonic language carved somewhere between the imagined and the real. Born from the fusion of the Japanese words 夢 (yume, “dream”) and 音 (oto, “sound”), Müne exists as a liminal space where emotion, memory, and sound design blur into something that feels. Less about genre, more about atmosphere. Less formula, more intuition.

The debut release capture that vision into four tracks shaped by hardware grit, dusty grooves, and moods that shift between tension and warmth.

A-side
Jose Daguerre sets the tone with Barbaria, a hypnotic loop-based workout with gritty low-end, dry drums, and a subtly evolving structure. It’s meditative, but with weight. Electro Reunión leans into stripped-down electro mechanics—tight sequencing, foggy FX, and a lingering sense of space. With Patricio Felip collab on the keyboard, both tracks feel tactile, intentional, and refreshingly unpolished.

B-side
Dani Labb brings Resfr0m, a broken-beat track that feels like it’s breathing—loose and raw, wrapped in textures that drift between dreamy and distorted. Finally, Veloz y Raptor by Juan Proeliis & Cohema closes this first release with a bouncy, dark cut full of kinetic energy, tape color, and playful detail.

MÜNE 001 is a declaration of intent: warm, human, and left-of-center. Built for deep listening and late-night systems.

Finally, I was able to devote some time to actually getting some collaborations completed for a new release of the Meeting Of The Minds series, with some brand new names arriving to Future Retro London!

Nebula is one of my favourite artists making new jungle atm, his versatility in music on the darker & lighter sides of the spectrum, the richness of his atmospherics and melodies & the way his drum edits flow throughout his tracks, I consider him a big inspiration in what I make. It was an absolute pleasure to be able to work with him on "Without Fear".

I've been enjoying some of what Stekker's been doing in his music, representing the ruffer lo-fi side of production and he's been putting out some great stuff on his own label Ruff 'n' Tuff as well as on a release he did for Coco Bryce's label Myor. I reached out to him about a collaboration and he had started something, which I was really into and that led to "The Quest".

I owe a lot to DJ Trace, as he was one of the first big names in jungle/d&b to really show me support for what I was doing. He gave me my debut vinyl release when he asked me to remix an old classic of his called "Final Chapta", which he released in 2011 on his label DSCI4. I also had music released on a label he started a few years after that called 117 (which I also helped design artwork for), so we go way back. He's been making more music than ever before recently and I was lucky enough to be able to get a collaboration in with him and "Patterns Of Thought" is the end result of that.

I've known Ark X & Duburban for a number of years, I would see them at a lot of events up north, as well as at events in London that they'd travel down for. They also were good friends with Kid Lib and would drive down with him whenever he was visiting/DJing in London & I was becoming familiar with their music through him, through Ark X's labels Supercharger & Hypercharger (where some of Ark X's music was being released under his previous alias of Black Orchid) & through Duburban's collaborations with Jahganaut. Big up to both of them for collaborating with me on "Come A Dance"

Percussive P (who has previously released on the label with FR037 & our remix on THCFR001) is a top quality producer who I wish had more music/releases out there. I used to play a tune of his called "Gunsmith" a lot in sets, as well as a lot of his collabs with Kid Lib which I was a big fan of. I'd previously collaborated with him on a tune for Dublinquents a few years ago and I was quite keen on doing a new collaboration with him for Meeting Of The Minds, so he sent me some tracks he had started, I picked my favourite to work on and that led to "Impatience".

Fluid Haunts is a solid producer who I was familiar with, but it wasn't until his music was drilled into my head by Dwarde who was playing a few select tunes from him in every single b2b set we had together, that I started to really appreciate his skills. Dwarde would play "Not Your Ordinary Love Song" without fail, in any given moment and time, and it would always get a great reaction from the crowd, so I had to get in touch to see if he'd be up for working with me & thankfully he was! We ended up making "Pineapple Soup" together & I can't remember why it's called that, I think he named the tune ????

Hobzee is one half of Silent Dust (him & Zyon Base) & I used to chat regularly with him and trade music with him on AOL Instant Messenger (showing my age here!) a long while back. He got back in touch with me about wanting to work on music together and he had an early version of "Sunspots" done. It was very promising sounding so I was quite keen to get involved with him on it and I'm grateful that I was able to get him on Future Retro London after many many years of IM chats!

Usually, I limit my collaborations on Meeting Of The Minds to producers that are fairly established and already somewhat known to other people, but for those who don't know who Eff is, she is a potentially familiar face to anyone who has attended a Future Retro London event, as she has been on the door for every single one. One day after a Distant Planet event in Bristol, she mentioned to me that she had an idea for a track inspired by a PFM tune and she already had the title in mind for it, which is "Wavebreak". I was curious about how this would sound in reality, so we met up to work on the tune & she said it was pretty much like how she had envisioned it & I liked how it sounded, so I thought it would be worth putting out on a future Meeting Of The Minds release, which ended up being this one.

Big up to all the artists involved on this edition of Meeting Of The Minds, it's quite a long and arduous task putting together each one, which is why there was such a gap between Vol. 9 & 10 and Vol. 11 & 12. I plan on getting the series back into something more regularly occurring, so hopefully I can actually stick to that plan!

"Hyperglyph" is the first new album in 11 years from composer/trumpeter/synthesist Rob Mazurek and composer/percussionist Chad Taylor"s long-running Chicago Underground Duo project. Mazurek and Taylor have played music together in a multitude of formations over nearly three decades, including their ongoing partnership in Mazurek"s large-format-skyward-expressionism vehicle Exploding Star Orchestra, in the expanded Chicago Underground Trio, Quartet and Orchestra (all with guitarist Jeff Parker), as well as a plethora of other assemblages. The early albums by the Duo have proven to be embryonic blueprints for the avant-jazz / electronic / indie rock hybridizing of the time, making them majorly important moments in the articulation of the "jazz" dimensionality of the then-burgeoning "post rock" sound. That sound, of course, was being transmitted far and wide due to the success of these groups as well as the Mazurek/Parker project Isotope 217, and the Chicago Underground"s frequently-intersecting collaborators in Tortoise. Just as most of the still-working projects born of that era have evolved, reconfigured, and grown, the Chicago Underground Duo has undergone a number of musical moltings, with the project always in the background of disparate individual aural investigations. The concurrent personal evolutions of Mazurek and Taylor as the Duo project drops off and picks back up makes it a true reflection of their own lives and friendship.

"This is brilliant" - Gilles Peterson

Azymuth bassist Alex Malheiros doesn't remember recording this single. It's understandable—the sessions happened over forty years ago, and at the time, Malheiros, Ivan Conti and José Roberto Bertrami were backing countless MPB artists throughout the genre's golden age. As one of Brazil’s most influential groups, Azymuth's story is well known. Vocalist Luisa, however, remains something of an enigma. She recorded this, her one and only single, in 1981 for Carlos Lemos' Piramide Label.

With Luisa’s powerful yet understated vocal, Bertrami's futuristic synths and José Carlos Bigorna's brow-raising tenor sax licks, the stirring early-80s pop ballad "Romantica" should have been a radio hit. On B-side, "Lenha na Fogueira", Azymuth lock into an exceptional samba-funk groove with legendary guitarist Paulinho Guitarra. The record also features backing vocals from the lesser-known vocal group Arco Iris.

Luisa will be reissued for the first time on 7" vinyl and digital on September 5th, 2025, via Far Out Recordings.

Mexico-born and based The Funk District has been adding a contemporary spin to funk, soul, disco and Afro for a decade now. His latest takes him to Saint Wax and kicks off with 'Alligator Groove', which is a leggy, strident disco pumper with neat and funky guitar riffs. 'The Reverend' has even fatter drums pumping down and guttural gospel vocals adding emotional intensity. Gledd remixes with a more light-fingered and jazzy touch and flipside cut 'Gimme Something' offers deep disco and then acid tinged house anthem 'A Little More' rounds out the package.

BARRO #12 – Nebula Circuit (with remixes by Orlok 101 & Abraxas)

Limited to 200 units. Exclusive distribution: Melting Pot Records

The label BARRO returns with its twelfth release, reaffirming its commitment to vinyl culture and uncompromising club music.

This time, the spotlight is on Nebula Circuit, delivering a series of tracks that navigate between EBM, techno, and electroclash, all sharply designed for the dancefloor.

BARRO #12 vinyl release features four tracks:

• Three original productions by Nebula Circuit, where electronic darkness merges with tense rhythms and incisive basslines.

• A remix by Orlok 101, pushing the material into an even more abrasive, machine-driven territory that strengthens the label’s underground identity.

A Statement of Intent:
With this release, BARRO consolidates its place within the darker, more combative spectrum of electronic music. BARRO #12 is crafted for DJs, collectors, and all underground devotees — a punk-spirited record with a clear mission: the dancefloor.

BARRO #12 – available soon on vinyl and digital.

The above references have already been supported by artists such as Dave Clarke, Phase Fatale, The Hacker, Lokier, NX1, Unhuman, Alienata, Reka, and many more.

Indie exclusive Peak Edition on Orange & Black Swirl Vinyl, in a gatefold cover + poster.



It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

It's dedicated to the 1988 Experimental / Electronic masterpiece by the Italian contemporary guitarist Riccardo Giagni, originally released on Stile Libero (Italy) + a special Balearic Remix by SIMON PETER.
Archeo Recordings is a reissue record label that regenerates old, lost, obscure and forgotten rare gems of mostly Italian music but also all over the world of the 70s, 80s and 90s.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images.
Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.
All releases are hand-numbered limited edition vinyl. The first copies of each release are pressed in coloured vinyls.

Welshman Earl Jeffers, who you may know as Cheesus, has lined up a couple of gems for the Melange label in the early part of this year. This addition to the archives is disco-inspired trip aimed squarely at the floor. 'Jump' kicks off with hulking great kicks, raw chords and twanging guitars that are full of life and soul. 'Intergalactic Jam' is another no-nonsense cut, this time with more low-slung drums, wet hand claps and withering sci-fi synths all providing a foundation for big chord vamps and even bigger vocals.

Perro Bueno Edits has been behind some much-sought-after edit releases in recent times and this one is another of the same. The fifth entry in the cult series again looks to unearth rare Afro disco gems and rework them with precision and soul. On Side A, 'AMDS' is a hypnotic cut with a rolling bassline that radiates warmth as the original is respectfully reimagined with sharp edits and an extended arrangement built for movement. The B-side is a spiritual stunner that melds heartfelt vocals with layered rhythms and dreamy keys to back the soulful vocal. It's a dubbed-out groove perfect for late nights with some bright horns adding extra vitality.

The 23rd flight from the Pilot label run by Burnski is a future-facing blend of tech, disco and house with a real intergalactic aesthetic. 'It's Your Duty' opens with a grinding bassline and snappy drums that soon get you marching, then 'Save Our Planet' (dub) spins out with some silky celestial melodies and twitchy drum funk. 'Nothing To Hide' glistens with some sci-fi charm as the tight drums and bulbous bassline move things onwards, and 'Strolling The River' shuts down with another disco-tech sound that is lit up with sugar melodies and boogie motifs.

MOST SOUGHT AFTER & HARDEST TO FIND IN NYC TECHNO/HOUSE/GHETTO HISTORY.

We proudly welcome Frankie Bones to our label with a compilation of what is in my opinion one of the grails of the music for dancing in dark clubs and warehouse raves.

GHETTO TECHNICS is now compiled in 2 volumes for maximum dancefloor damage, remastered for the greatest impact but preserving all the essence and aesthetic, including & unreleased tunes from the time.

FOR TRUE DISC-JOCKEYS & COLLECTORS.
OFTENPLUSNEVERMINUS+8
H.

This plate is about to welcome back one of the unsung heroes from the 45 Seven lands of dub, meditating with us from day one. Weather it may be about 4578's foundations of the rolling Dub Over Distance along the shuffly Dub Pacifico or the later forward lurking tribal jungles of Black Lake flipped by Lack Blake on 45719: Dub Across Borders always knows to amaze with both a contemplating deep inner focus of well laid-out hand-made instrumentation and vintage dubbing as well as refreshing ear-opening sounds and soul-pleasing vibes collected from all over the world, creating a very own sphere of what feels like some kind of ancient sci-fi riddim, rooting upwards to the phuture.

When sweating over a hot mixing desk and hoping for a fresh breeze, the roots of Come Rain were laid in a form of bassdrums knocking at the sky's gates, stabby infra subs foreseeing well-wished thunders and moist dark skank works are calling for storm. An inner shout for the elements, incarnating in a certainly minimal yet pretty heavy 160 stepper, rolling over all the dry hot air out there.

Yeh Sih Dub comes after the rain: new branches grow, fresh leaves spread, foggy clouds reach up for a mountain-high rainforest. Awakening the world bass side of Dub Across Borders, it gives you ceremonial Bhuddist horns as well as houting sounds of the tantric Khamak, a poundy stab bass and the shimmering spring-splashing ride sitting on top as its crown. Only rarely 80 bpm bass has been as easily touching and moving at the same time.

Take a deep breath and dive into this piece of both mindful and reflective space bass, launching sub-heavy Jungle onto imaginery moons of spacial perception. We are actually just about to start this journey, feel free to get aboard!

"Absolute gold, thanks a bunch" Will be supporting lots" Pugilist
"Epic Dub pressure, big fan of Dub Across Borders" Sun People
"Sounding great as usual, will play for sure!" Tracy & E3 of Zamzam

Das 2004 erschienene MM..FOOD von MF DOOM wird inzwischen als Hip-Hop Klassiker-Album voller einfallsreicher Produktion, brillanter Wortspiele und einzigartiger Themen gewürdigt. Gefeiert für seine nahtlose Mischung aus Humor, Witz und sozialem Kommentar, entführt das Album den Hörer in eine bizarre Welt voller Lebensmittel-Metaphern und zeichnet ein bitter-komödiantisches Porträt eines Lebens, das von Laster, Gewalt und Eifersucht verdorben ist. Ein brillantes und damals neuartiges Konzept, das DOOM viel Raum zur Erkundung der Themen des Albums gab. Im Verlauf von MM..FOOD bettet DOOM komplexe Ideen in scheinbar einfache Erzählungen ein. Der Album-Opener "Beef Rapp" ist eine vielschichtige Metapher, die den Hörer an die Gefahren erinnert, die mit der Verherrlichung von Konflikten verbunden sind, insbesondere im Rap. "Hoe Cakes" leiht sich seinen Namen von den süßen, mit heißem Wasser gefüllten Maismehlfladen, die er als Symbol benutzt, um über Genuss und Exzess zu reimen. Mit dem von Madlib produzierten "One Beer" setzt DOOM das Motiv fort, um Schichten von Tiefe über Eskapismus und Ego zu falten, während das populäre "Rapp Snitch Knishes" die Verkaufsdiskriminierung und widersprüchlichen Verhaltensweisen einiger Rapper kritisiert. Insgesamt ist MM..FOOD sowohl ein sozialer Kommentar als auch ein Stück Gesellschaftssatire, das MF DOOMs Fähigkeit unter Beweis stellt, ernste Themen mit seinem einzigartigen, verspielten lyrischen Stil zu verbinden. Zur Feier des 20-jährigen Jubiläums des Albums wurde MM..FOOD mit einem komplett neuen Artwork von Sam Rodriguez neu verpackt!

Give It Up Or Turnit a Loose (Edit) by James Brown b/w Web (Edit) by Hampton Hughes / Give It Up or Turnit a Loose (Bonus Breaks) by James Brown| Galaxy Sound Company — GSC45-044, test pressing | The long-running @galaxy_sound_company imprint has been responsible for some superb re-edits over the years, most of which are pleasingly purist in tone — meaning they are pro rearrangements with no added effects but & needless new beats or cheap trickery like so many out there— making any of their releases cop-on-site. & as you can hear from the test pressing, the 44th in the stellar series delivers yet again.

Side A is a masterclass in breakbeat editing of a b-boy classic sample source. Yes, there are many killer JB edits out in the universe, but when you see that the legendary Black Cash & Theo AKA Thelonious Beats take a turn, you know you gotta cop this mutha on site. Here the edit master bravely returns to one of the main sources of the dawn of hip-hop — JB’s comp “In The Jungle Groove” which was released in 1986 to capitalize on it’s popularity in the genre at the time. The comp is named for a breakdown section that appears in “Give It Up Or Turnit a Loose” which is the workout we have here. JB quiets the band down to handclaps, footstomps & congas played by Johnny Griggs. After he raps a little, JB cues legendary drummer Clyde Stubblefield back in, followed by bassist Bootsy Collins & the rest of the band. JB wasn’t intentionally trying to create a perfect batch of hip-hop samples in the late 60s & early 70s, but he couldn’t have succeeded any better if he had been. This edit may enter well-worn territory but he uniquely delivers an edit that showcases why it inspired so many & still delivers the goods to help you get your party started off right & quickly.

Next up on the flipside we are treated to an edit of “Web” by Hampton Hughes, from his 1974 David Axelrod produced & arranged album “Northern Windows”. Heads will recall it as the core sample for “Off the Record” by Hieroglyphics, from the 1998 LP “3rd Eye Vision”. This jazz-funk burner features a stellar line-up:
Piano/keyboards = Hawes
Trumpet = Allen DeRienzo, Snooky Young
Trombone = George Bohanon
Sax/flute = Jackie Kelso, Jay Migliori, William Green
Electric Bass = Carol Kaye
Drums = Spider Webb

But wait, GSC ain’t done yet! We get some bonus beats from the A-side. Another reason why doubles are highly recommended when you need assistance in your set.

Hahaha _ Will Paquin's debut full-length album, out this September _ is the sound of Paquin breaking out of the bedroom. It's loud, raw, and full of life. Much of the album feels a time capsule _ a collection of ideas and sounds that Paquin has been quietly nurturing for years. Now, for the first time, they've come together in a cohesive whole, shaped by the passage of time and Paquin's current perspective. "This album is kind of like re-centering what I actually like and what I want to put out to the world," he explains. Hahaha is a celebration of shared energy, of chaos, of the kind of laughter that erupts when you're fully alive in the moment. It's a guitar-forward, psych-laced, garage-rock catharsis.

Das neue Tigeryouth (Ibbenbüren/Köln) Album erscheint im September 2025, als erstes Album in Bandbesetzung und erstes seit dem Vorgänger "Schmuck" von 2019. Aufgenommen wurden die elf Songs von "Alles neu" im Heavy Kranich Studio in Münster. Es wurde aufgenommen, gemischt und gemastert von Phil Meyer (ehemals Waterdown) und ist mit Hilfe der Donots-Mitglieder Guido Knollmann und Jan-Dirk Poggemann entstanden. Tigeryouth hat das "Akustik" und "Singer-Songwriter" vor dem "Punk" gestrichen und macht wortwörtlich "Alles neu". Markiger, emotionaler Punkrock (kein Deutschpunk) im druckvollen Sound und vielen melodischen Ohrwurm-Momenten. Die Bandbesetzung steht Tigeryouth absolut bestens.

Bushbaby's mixtape, 'EVERY TIME', is a statement piece from one of the UK's most exciting club producers.

Known for blending UKG, house, and raw rave energy, this 10-track project showcases the full scope of his sound.

The mixtape lands off the back of a huge 12 months. 'Shake and Slide' went viral on socials, 'Feel The Rush' showed his melodic side, and his DJ sets have lit up dancefloors across the UK, Europe, USA and Australia. With major support from Four Tet, Disclosure, Danny Howard, Chris Stussy, bullet tooth, DJ Seinfeld, NOTION, Y U QT, Ben UFO, Diffrent, Hamdi, Interplanetary Criminal and Sammy Virji, Bushbaby is leading a new wave.

Pressed to vinyl and backed by a full world tour, 'EVERY TIME' marks the start of a new chapter.

Bushbaby's mixtape, 'EVERY TIME', is a statement piece from one of the UK's most exciting club producers.

Known for blending UKG, house, and raw rave energy, this 10-track project showcases the full scope of his sound.

The mixtape lands off the back of a huge 12 months. 'Shake and Slide' went viral on socials, 'Feel The Rush' showed his melodic side, and his DJ sets have lit up dancefloors across the UK, Europe, USA and Australia. With major support from Four Tet, Disclosure, Danny Howard, Chris Stussy, bullet tooth, DJ Seinfeld, NOTION, Y U QT, Ben UFO, Diffrent, Hamdi, Interplanetary Criminal and Sammy Virji, Bushbaby is leading a new wave.

Pressed to vinyl and backed by a full world tour, 'EVERY TIME' marks the start of a new chapter.

If any album could conjure up the revolutionary spirit of Jamaica in the mid 1970’s, Tapper Zukie’s invincible M.P.L.A. set would surely be a fighting contender. The coming together of great rhythms and meaningful lyrics in a time of unrest in the country seemed to have made the album all the more urgent and relevant. As time would tell it would also prove to be a lasting success, not only with the hard core reggae fans but also their punk counterparts. Who embraced its militant themes and crossed the album over to a whole new audience. Tapper Zukie (b. David Sinclair, Kingston, Jamaica.) had already returned from a trip to London England by the mid 70’s .Initially sent with help from his parents, brother Blackbeard and producer Bunny ‘Striker’ Lee to remove the youth from his troublesome ways on the streets of Kingston, Jamaica. He had performed some live shows in London and made some recordings for Larry Lawrence, that produced his debut ‘Jump and Twist’. Alongside other recordings that would emerge as his ‘Man A Warrior’ set. But feeling homesick he had returned to Jamaica in 1974 to work with Bunny Lee. His work would consist of arranging sessions and collecting payments to bodyguard, the now very successful producer. His frustration of Bunny Lee’s reluctance to record him led him cutting ‘Judge I Oh Lord’ for producer Lloydie Slim. Bunny Lee’s then recording of Tapper’s ’Natty Dread Don’t Cry’ and its subsequent release aboard, led to an altercation between Tapper and producer. The police had to be called and an offer to provide the singer with a set of rhythms put this matter to rest. The eight rhythms and a further two from Jo Jo Hookim and Ossie Hibbert alongside some free studio time at King Tubby’s Studio would result in the M.P.L.A album.

The rhythm provided by Jo Jo Hookim was a Channel One studio cut by The Revolutionaires based on Little Richards ‘Freedom Blues’ and provided the backdrop to M.P.L.A. The Ossie Hibbert rhythm again cut at Channel One based on The Royals ‘Pick Up The Rockers’ would provide the backdrop to Tapper’s ‘Pick Up The Rockers’. These and the remaining Bunny Lee rhythms, were all cut in a one hour session, at King Tubby’s Studio. ’Don’t Get Crazy’ cut on a rhythm based on the Joe Frazier rhythm to Tony Brevett’s ‘Don’t Get Weary’. ‘Go De Natty’ cut on Cornell Campbell’s ‘Please Be True’, originally a cut to Alexander Henry’s ‘Please Be True’. ‘Stop The Gun Shooting’ runs over Horace Andy’s ‘Skylarking’.’Ital Pot’ cut on Johnny Clarke’s version of Burning Spear’s ‘Creation Rebel. ‘Marcus’ see’s Tapper professing over Johnny Clarke’s ‘Poor Marcus’ .’Chalice To Chalice’ pulls on Johnny Clarke’s ‘Give Me a Love’,’ Don’t Deal With Babylon’ answers Junior Ross and The Spears ‘Babylon Fall’ and ‘Freedom’ rides on the great rhythm of Junior Ross and The Spears ‘Liberty’. An outstanding album cut by one of Jamaica’s finest DJ’s and producers the mighty Tapper Zukie. We hope you enjoy this now timeless set.

Press Quotes:

Rock Hard 8.5/10: "...noch ausgereifter und dürften sich endgültig als eine feste Größe im britischen Prog Metal etablieren. Das Nebeneinander von modernen und traditionellen Elementen funktioniert ganz wunderbar... Eine der positivsten Überraschungen des Prog-Jahres 2025!"
"...even more mature and should finally establish themselves as a permanent fixture in British prog metal. The juxtaposition of modern and traditional elements works wonderfully... One of the most positive surprises of the prog year 2025!"

Metal Hammer 4.5/7: "Insofern gehört auch LEGACY zu den tiefschürfenden Statements einer modernen Band, die voll im Zeitgeist ist."
"In this respect, LEGACY is also one of the profound statements of a modern band that is fully in tune with the zeitgeist."

Legacy 13/15: "Diese Band ist manifestierte Kreativität, die dazu dient, den Geist mit Glück zu erfüllen. So viel Schönheit ist schon bemerkenswert. Dieses Werk ist wahrlich ein Vermächtnis, welches den Prog in ein neues Zeitalter führt und in der Musikwelt seine Spuren hinterlassen wird."
"This band is manifest creativity that serves to fill the spirit with happiness. Such beauty is truly remarkable. This work is truly a legacy that will lead prog metal into a new era and leave its mark on the music world."

eclipsed 8/10 (#2 in eclipsed Radar Top 20): "Die erzeugten Stimmungen - die mit den eine dystopische Zukunft beschreibenden Texten korrelieren - machen „Legacy" vielmehr zu einem Bauch-Album, das mit Atmosphäre punktet und einem bei jedem Durchlauf besser gefällt. ...Durchweg tolle Melodien, starker Gesang und abwechslungsreiche Gestaltung der Songs. ...Es ist ein moderner Kopfhörer-Traum, den Ihlo hier abgeliefert haben."
"The moods created—which correlate with the lyrics describing a dystopian future—make "Legacy" more of a gut-pumping album, one that scores with atmosphere and grows more likable with each listen. ...Consistently great melodies, strong vocals, and varied songwriting. ...It's a modern headphone dream that Ihlo have delivered here."

saitenkult.de 9/10: "Mit ´Legacy´ legen IHLO den Grundstein zu ihrem eigenen Vermächtnis. Ein Werk, das in die Zukunft strahlt und zugleich im Hier und Jetzt überwältigt."
"With 'Legacy,' IHLO lay the foundation for their own legacy. A work that radiates into the future and simultaneously overwhelms the here and now."

theprogspace 10/10: "Ihlo’s growth since their beginnings has been nothing short of spectacular, and to witness how far they’ve come is inspiring. After listening nonstop to ‘Legacy’, it is really hard for me to realize that it is just their second album (!). It is so well produced with its raw energy and depth. It is truly cementing their career, carving out a big bold name within the best of the best in the prog metal universe."

metal-heads.de: "Ein interessantes Prog-Werk haben IHLO da erschaffen."
"IHLO have created an interesting prog work."

moshpitpassion.de: "Manchmal hört man einen Song und weiß sofort: Das hier wird etwas Besonderes. Genau so wirkt „Replica“, die neue Single von IHLO. …macht deutlich, wie weit sich die Band seit ihrem Debüt entwickelt hat. Die Atmosphäre ist dicht, die Dynamikwechsel kommen plötzlich und hart, und der Breakdown bringt eine rohe Härte mit, wie man sie von IHLO in dieser Form noch nicht kannte. Und trotzdem bleibt alles stimmig, melodisch und emotional aufgeladen."
"Sometimes you hear a song and know immediately: This is going to be something special. That's exactly how "Replica," the new single from IHLO, feels. ...makes it clear how far the band has evolved since their debut. The atmosphere is dense, the dynamic shifts are sudden and harsh, and the breakdown brings a raw heaviness never before seen from IHLO. And yet everything remains coherent, melodic, and emotionally charged."


Press Quotes:

Rock Hard 8.5/10: "...noch ausgereifter und dürften sich endgültig als eine feste Größe im britischen Prog Metal etablieren. Das Nebeneinander von modernen und traditionellen Elementen funktioniert ganz wunderbar... Eine der positivsten Überraschungen des Prog-Jahres 2025!"
"...even more mature and should finally establish themselves as a permanent fixture in British prog metal. The juxtaposition of modern and traditional elements works wonderfully... One of the most positive surprises of the prog year 2025!"

Metal Hammer 4.5/7: "Insofern gehört auch LEGACY zu den tiefschürfenden Statements einer modernen Band, die voll im Zeitgeist ist."
"In this respect, LEGACY is also one of the profound statements of a modern band that is fully in tune with the zeitgeist."

Legacy 13/15: "Diese Band ist manifestierte Kreativität, die dazu dient, den Geist mit Glück zu erfüllen. So viel Schönheit ist schon bemerkenswert. Dieses Werk ist wahrlich ein Vermächtnis, welches den Prog in ein neues Zeitalter führt und in der Musikwelt seine Spuren hinterlassen wird."
"This band is manifest creativity that serves to fill the spirit with happiness. Such beauty is truly remarkable. This work is truly a legacy that will lead prog metal into a new era and leave its mark on the music world."

eclipsed 8/10 (#2 in eclipsed Radar Top 20): "Die erzeugten Stimmungen - die mit den eine dystopische Zukunft beschreibenden Texten korrelieren - machen „Legacy" vielmehr zu einem Bauch-Album, das mit Atmosphäre punktet und einem bei jedem Durchlauf besser gefällt. ...Durchweg tolle Melodien, starker Gesang und abwechslungsreiche Gestaltung der Songs. ...Es ist ein moderner Kopfhörer-Traum, den Ihlo hier abgeliefert haben."
"The moods created—which correlate with the lyrics describing a dystopian future—make "Legacy" more of a gut-pumping album, one that scores with atmosphere and grows more likable with each listen. ...Consistently great melodies, strong vocals, and varied songwriting. ...It's a modern headphone dream that Ihlo have delivered here."

saitenkult.de 9/10: "Mit ´Legacy´ legen IHLO den Grundstein zu ihrem eigenen Vermächtnis. Ein Werk, das in die Zukunft strahlt und zugleich im Hier und Jetzt überwältigt."
"With 'Legacy,' IHLO lay the foundation for their own legacy. A work that radiates into the future and simultaneously overwhelms the here and now."

theprogspace 10/10: "Ihlo’s growth since their beginnings has been nothing short of spectacular, and to witness how far they’ve come is inspiring. After listening nonstop to ‘Legacy’, it is really hard for me to realize that it is just their second album (!). It is so well produced with its raw energy and depth. It is truly cementing their career, carving out a big bold name within the best of the best in the prog metal universe."

metal-heads.de: "Ein interessantes Prog-Werk haben IHLO da erschaffen."
"IHLO have created an interesting prog work."

moshpitpassion.de: "Manchmal hört man einen Song und weiß sofort: Das hier wird etwas Besonderes. Genau so wirkt „Replica“, die neue Single von IHLO. …macht deutlich, wie weit sich die Band seit ihrem Debüt entwickelt hat. Die Atmosphäre ist dicht, die Dynamikwechsel kommen plötzlich und hart, und der Breakdown bringt eine rohe Härte mit, wie man sie von IHLO in dieser Form noch nicht kannte. Und trotzdem bleibt alles stimmig, melodisch und emotional aufgeladen."
"Sometimes you hear a song and know immediately: This is going to be something special. That's exactly how "Replica," the new single from IHLO, feels. ...makes it clear how far the band has evolved since their debut. The atmosphere is dense, the dynamic shifts are sudden and harsh, and the breakdown brings a raw heaviness never before seen from IHLO. And yet everything remains coherent, melodic, and emotionally charged.

Press Quotes:

Rock Hard 8.5/10: "...noch ausgereifter und dürften sich endgültig als eine feste Größe im britischen Prog Metal etablieren. Das Nebeneinander von modernen und traditionellen Elementen funktioniert ganz wunderbar... Eine der positivsten Überraschungen des Prog-Jahres 2025!"
"...even more mature and should finally establish themselves as a permanent fixture in British prog metal. The juxtaposition of modern and traditional elements works wonderfully... One of the most positive surprises of the prog year 2025!"

Metal Hammer 4.5/7: "Insofern gehört auch LEGACY zu den tiefschürfenden Statements einer modernen Band, die voll im Zeitgeist ist."
"In this respect, LEGACY is also one of the profound statements of a modern band that is fully in tune with the zeitgeist."

Legacy 13/15: "Diese Band ist manifestierte Kreativität, die dazu dient, den Geist mit Glück zu erfüllen. So viel Schönheit ist schon bemerkenswert. Dieses Werk ist wahrlich ein Vermächtnis, welches den Prog in ein neues Zeitalter führt und in der Musikwelt seine Spuren hinterlassen wird."
"This band is manifest creativity that serves to fill the spirit with happiness. Such beauty is truly remarkable. This work is truly a legacy that will lead prog metal into a new era and leave its mark on the music world."

eclipsed 8/10 (#2 in eclipsed Radar Top 20): "Die erzeugten Stimmungen - die mit den eine dystopische Zukunft beschreibenden Texten korrelieren - machen „Legacy" vielmehr zu einem Bauch-Album, das mit Atmosphäre punktet und einem bei jedem Durchlauf besser gefällt. ...Durchweg tolle Melodien, starker Gesang und abwechslungsreiche Gestaltung der Songs. ...Es ist ein moderner Kopfhörer-Traum, den Ihlo hier abgeliefert haben."
"The moods created—which correlate with the lyrics describing a dystopian future—make "Legacy" more of a gut-pumping album, one that scores with atmosphere and grows more likable with each listen. ...Consistently great melodies, strong vocals, and varied songwriting. ...It's a modern headphone dream that Ihlo have delivered here."

saitenkult.de 9/10: "Mit ´Legacy´ legen IHLO den Grundstein zu ihrem eigenen Vermächtnis. Ein Werk, das in die Zukunft strahlt und zugleich im Hier und Jetzt überwältigt."
"With 'Legacy,' IHLO lay the foundation for their own legacy. A work that radiates into the future and simultaneously overwhelms the here and now."

theprogspace 10/10: "Ihlo’s growth since their beginnings has been nothing short of spectacular, and to witness how far they’ve come is inspiring. After listening nonstop to ‘Legacy’, it is really hard for me to realize that it is just their second album (!). It is so well produced with its raw energy and depth. It is truly cementing their career, carving out a big bold name within the best of the best in the prog metal universe."

metal-heads.de: "Ein interessantes Prog-Werk haben IHLO da erschaffen."
"IHLO have created an interesting prog work."

moshpitpassion.de: "Manchmal hört man einen Song und weiß sofort: Das hier wird etwas Besonderes. Genau so wirkt „Replica“, die neue Single von IHLO. …macht deutlich, wie weit sich die Band seit ihrem Debüt entwickelt hat. Die Atmosphäre ist dicht, die Dynamikwechsel kommen plötzlich und hart, und der Breakdown bringt eine rohe Härte mit, wie man sie von IHLO in dieser Form noch nicht kannte. Und trotzdem bleibt alles stimmig, melodisch und emotional aufgeladen."
"Sometimes you hear a song and know immediately: This is going to be something special. That's exactly how "Replica," the new single from IHLO, feels. ...makes it clear how far the band has evolved since their debut. The atmosphere is dense, the dynamic shifts are sudden and harsh, and the breakdown brings a raw heaviness never before seen from IHLO. And yet everything remains coherent, melodic, and emotionally charged."


Press Quotes:

Rock Hard 8.5/10: "...noch ausgereifter und dürften sich endgültig als eine feste Größe im britischen Prog Metal etablieren. Das Nebeneinander von modernen und traditionellen Elementen funktioniert ganz wunderbar... Eine der positivsten Überraschungen des Prog-Jahres 2025!"
"...even more mature and should finally establish themselves as a permanent fixture in British prog metal. The juxtaposition of modern and traditional elements works wonderfully... One of the most positive surprises of the prog year 2025!"

Metal Hammer 4.5/7: "Insofern gehört auch LEGACY zu den tiefschürfenden Statements einer modernen Band, die voll im Zeitgeist ist."
"In this respect, LEGACY is also one of the profound statements of a modern band that is fully in tune with the zeitgeist."

Legacy 13/15: "Diese Band ist manifestierte Kreativität, die dazu dient, den Geist mit Glück zu erfüllen. So viel Schönheit ist schon bemerkenswert. Dieses Werk ist wahrlich ein Vermächtnis, welches den Prog in ein neues Zeitalter führt und in der Musikwelt seine Spuren hinterlassen wird."
"This band is manifest creativity that serves to fill the spirit with happiness. Such beauty is truly remarkable. This work is truly a legacy that will lead prog metal into a new era and leave its mark on the music world."

eclipsed 8/10 (#2 in eclipsed Radar Top 20): "Die erzeugten Stimmungen - die mit den eine dystopische Zukunft beschreibenden Texten korrelieren - machen „Legacy" vielmehr zu einem Bauch-Album, das mit Atmosphäre punktet und einem bei jedem Durchlauf besser gefällt. ...Durchweg tolle Melodien, starker Gesang und abwechslungsreiche Gestaltung der Songs. ...Es ist ein moderner Kopfhörer-Traum, den Ihlo hier abgeliefert haben."
"The moods created—which correlate with the lyrics describing a dystopian future—make "Legacy" more of a gut-pumping album, one that scores with atmosphere and grows more likable with each listen. ...Consistently great melodies, strong vocals, and varied songwriting. ...It's a modern headphone dream that Ihlo have delivered here."

saitenkult.de 9/10: "Mit ´Legacy´ legen IHLO den Grundstein zu ihrem eigenen Vermächtnis. Ein Werk, das in die Zukunft strahlt und zugleich im Hier und Jetzt überwältigt."
"With 'Legacy,' IHLO lay the foundation for their own legacy. A work that radiates into the future and simultaneously overwhelms the here and now."

theprogspace 10/10: "Ihlo’s growth since their beginnings has been nothing short of spectacular, and to witness how far they’ve come is inspiring. After listening nonstop to ‘Legacy’, it is really hard for me to realize that it is just their second album (!). It is so well produced with its raw energy and depth. It is truly cementing their career, carving out a big bold name within the best of the best in the prog metal universe."

metal-heads.de: "Ein interessantes Prog-Werk haben IHLO da erschaffen."
"IHLO have created an interesting prog work."

moshpitpassion.de: "Manchmal hört man einen Song und weiß sofort: Das hier wird etwas Besonderes. Genau so wirkt „Replica“, die neue Single von IHLO. …macht deutlich, wie weit sich die Band seit ihrem Debüt entwickelt hat. Die Atmosphäre ist dicht, die Dynamikwechsel kommen plötzlich und hart, und der Breakdown bringt eine rohe Härte mit, wie man sie von IHLO in dieser Form noch nicht kannte. Und trotzdem bleibt alles stimmig, melodisch und emotional aufgeladen."
"Sometimes you hear a song and know immediately: This is going to be something special. That's exactly how "Replica," the new single from IHLO, feels. ...makes it clear how far the band has evolved since their debut. The atmosphere is dense, the dynamic shifts are sudden and harsh, and the breakdown brings a raw heaviness never before seen from IHLO. And yet everything remains coherent, melodic, and emotionally charged.

Ten City is universally known as one of the foundational House Music artists who helped to preach the gospel of House from Chicago out to the world during the genre’s formative years in the late 80’s. Remarkably Ten City is still recording and performing, with the voice and face of Ten City Byron Stingily delivering classic songs like “That’s The Way Love Is,” “Devotion” and “Right Back To You” to adoring fans from multiple generations around the world.

Throughout his career, Byron has always had a keen sense of where House Music is going both on a musical and cultural level, and the role Ten City could play to stay at the forefront. He saw that now in the year 2025 the time was right to collaborate with a new generation producer who could “walk the walk” in terms of knowing how to utilize to the fullest the multiple emerging production techniques making House Music dancefloors jump. At the same time, whomever he worked with to create a new Ten City album had to be so well versed and respectful of the group’s legacy that they would not stray too far from what the original songs and albums were all about.

He found his man in another Chicago native DJ Emmaculate, who is well known among house music fans as one of the most talented writer / producer / DJs in the genre.

For the new album on Nervous Records, appropriately entitled “The Next Generation,” Byron and Emmaculate have expanded the Ten City sound both musically and in terms of vocal contributors. While “Voice Of House Music” Byron Stingily still delivers slam-dunk hits with his inimitable style, the album also includes supreme vocal contributions from Mon’Aerie, Uneq’ka, DRAMA D. Lylez, and a rap delivery from OVEOUS.

This Double Pack vinyl consisting of 8 songs with a custom jacket is a priceless and must-have addition to anyone and everyone who is a fan of the house music genre.

This deluxe 2025 vinyl edition of The Grateful Dead's Grayfolded was pressed at Optimal in Germany, known for their high end audiophile pressings.In 1993 Canadian composer John Oswald was invited by Phil Lesh to transform historical recordings of the Dead into something new, along the lines of what they had attempted in their Anthem of the Sun album.

Oswald chose to focus on the Dead’s Dark Star, which, over the courseof a quarter century, they had expanded and transformed in myriad waysin live performances. Oswald was given access to the Vaults, whereover the course of a month, with the guidance of the Dead's resident archivist Dick Latvala, he collected 105 performances, which throughthe following year he formed, folded, fondled, and finessed into a kaleidoscopic unstuck-in-time documentary of the Grateful Dead in someof their most psychedelic, symphonic, and rocking excursions— asingular 110-minute fantasy performance.Here it is, Deadheads, the ultimate Dark Star is now on vinyl. Deluxe audiophile pressing cut in Toronto under the watchful ears of John Oswald. Elaborately printed packaging in a heavy duty triple gatefold jacket includes liner notes by musicologist Rob Bowman featuring interviews with Jerry Garcia, Phil Lesh, and Robert Hunter plus six"time maps" which chart the source concerts of Dark Star.Music performed by The Grateful Dead (c) Grateful Dead Productions Inc. & Ice Nine Publishing Inc.

Taken from over 100 performances of Dark Star recorded between 1968 and 1993. Built, layered and "folded"to produce one large, new re-composed Dark Star.John Oswald is best known as the the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the í90ís he began, with several commissions from the Kronos Quartet, to compose scores for classical musicians and orchestras, the latest of which is an orchestral work,commissioned by the BBC, combining aspects of The Beatles, Gyˆrgy Ligeti, and Terry Riley. He also improvises on the saxophone in various settings, dances, and is a successful visual artist, best known for the chronophotic series Stillnessence

Charles D has got the touch right now. Following ‘The Bouncer’, his blistering collaboration with Space 92, he returns with another slice of peak-time perfection, ‘Control’. The New Yorker has become one of the most promising artists to emerge on Drumcode in recent times; from his terrific body of remixes, led by Adam Beyer & Bart Skils ‘Your Mind’ and Mike Macaluso’s ‘Final Chapter’, to cuts on the label’s A-Sides compilation (‘Traction’ and ‘Yantee’), right through to his breakthrough EP release in 2023 ‘Don’t Stop’. With a recent standout collab with Space 92 ‘The Bouncer’ under his belt, you can always rely on the artist to craft captivating, big-moment productions.

Host of the popular Synthesized Radio and soon to be launching his own label project KONKRTE, Charles D says the writing process for ‘Control’ came quickly, with the first ideas coming together on the plane home from an energising weekend of gigs. “I'm really inspired by a lot of the new music out there, and wanted to make something that felt peak time, but had some melodic techno and tech house flavor to it. I made several versions of it, but the very first version was the one that made the cut. When I heard Adam play it at Drumsheds and Resistance in Miami and saw the crowd’s reaction, I knew not to mess with it too much.” – Charles D ‘Control’ is a high-octane trip and deliciously dynamic. Framed by the producer’s trademark plump basslines and crisp percussion, it makes a statement via a torrent of head-scrambling riffs and effects.

2025 Repress

In 2022, Daniele “Shield” Contrini of Rebirth Records proposed Paraíso to the great man himself, a compilation honouring Alfredo’s legacy. After Alfredo’s passing in December 2024, the project was final; with artists rallying to honour his vision and memory.

Before becoming a global clubbing hotspot, Ibiza embodied freedom—a place where sunrises blurred into sunsets and music became a way of life. In the 1950s and '60s, the island drew artists, hippies, and outsiders seeking escape and creative liberty.

In 1976, Alfredo Fiorito, fleeing political repression in Argentina, arrived in Ibiza and stayed. A former music journalist, he soon began DJing at Amnesia, a farmhouse-turned-club where time bent and boundaries dissolved. With eclectic, genre-defying sets, Alfredo blended reggae, flamenco, soul, rock, and early house, crafting a hypnotic energy that captivated a generation.

British DJs like Trevor Fung, Paul Oakenfold and Danny Rampling brought this “Balearic Beat” back home. But Balearic wasn’t a style it was a mindset. As DJ Leo Mas said, it was “a state of mind,” where rhythm, spirit, and psychedelia merged.

Other clubs like KU, Es Paradis, Pacha, and Lola’s amplified the movement. Visual artists such as Yves Uro gave it a striking identity, and DJs like César de Melero, DJ Pippi, and Jon Sa Trinxa carried the sound into a new era. José Padilla’s sunset sessions at Café del Mar birthed chill-out music as breath, not just beat.

But the 1990s brought change. Laws requiring roofs on clubs altered the open-air magic. Commercialisation followed; freedom became luxury, and many pioneers left.

Still, the Balearic spirit lives—raw and untamed. It pulses in hidden parties, intimate venues like Pikes and Hostal La Torre, and sacred places like Benirrás and Las Dalias.

Featuring 16 tracks of classic and true Balearic sound; alongside House & proto-House tracks that Mr Fiorito spun, the album also includes an unreleased Alfredo track and stands as a tribute to the man, the music, and the enduring spirit of true Ibiza.

Die Black Lips sind mit einer 40-minütigen Rock'n'Roll-Odyssee quer durch die Genres zurück, bei der Garagenrock auf New-Wave-Pop trifft und verärgerter Country sich die Hand mit epischen Western-Soundtracks gibt. Das 14-Track-Album fängt die Energie und den Geist der frühen Black Lips ein und geht gleichzeitig neue Wege beim Songwriting. Das Album ist ein musikalisches Karussell, eine Trip mit straßengeschundenen Geschichten aus der Schattenseite eines lichtlosen Amerikas. Die Rahmung bildet "The Illusion", pt.I und II: eine Suche nach Hoffnung, Angst und Hass in einer Bar, die immer wieder von einem Gefühl der Resignation durchkreuzt wird: ,you reach for the sky / but it's an illusion". An anderer Stelle spielt sich "Wild One" wie ein Morricone-Taumel durch einen weiteren Tag in der Hölle ab. Ein Mantra für verkatertes, himmelschreiendes Klagelied zum Lob des Wilden im Herzen. "Tippy Tongue" zeigt, wie Black Lips den Soul der 60er-Jahre-Girlgroups aufgreifen, wie Shangri-Las oder Ronettes, die von Jayne/Wayne County infiltriert wurden, und ist eine Hommage an Buddha Records. "Kassandra" hat einen sonntäglichen Gitarrensound, der sich wie The Chocolate Watchband mit Zappa am Gesang durch immer wiederkehrende Salven schlängelt. "Zulu Saints" ist ein beschwingter Country-Hupf, ein Gute-Laune-Stück mit Bravour, gespickt mit Cole in einer ungläubigen Radio-Telefon-Show, der nach schwarzäugigen Erbsen sucht und an den Spielautomaten groß gewinnt. Für die Aufnahmen verschanzten sie sich in der idyllischen Umgebung von Schlagzeuger Oakleys neuem Sound At Manor Studio in den Catskills (das erste Album, das dort aufgenommen wurde, seit Oakley das Studio 2020 baute). In dieser idyllischen Umgebung entzog sich die Band dem Stadtleben und nahm ihre Musik analog auf Band auf - Teil ihres Bestrebens, Spontaneität zu leben und die Energie eines Live-Konzerts der Black Lips auf Platte einzufangen. Gelungen! "Simply masters in their field" NME" - Limitiertes, cremefarbenes Vinyl mit DLC sowie CD im Digisleeve