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Celebrating 30 years of ‘Filthy Lucre’ Live, the incendiary 1996 recording that captured the Sex Pistols’ explosive reunion tour of the same name, this landmark live album returns for the first time as a 2LP, set on red vinyl. The album documents Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock reuniting nearly two decades after their original implosion, revisiting the songs that transformed punk and the world we live in today. Recorded at the band’s Finsbury Park performance, the release delivers a raw and uncompromising snapshot of the Sex Pistols at full volume, reaffirming their enduring influence and confrontational spirit.

Drawing heavily from ‘Never Mind The Bollocks, Here’s The Sex Pistols’, the setlist features defining tracks including “Bodies”, “No Feelings”, “New York”, “God Save The Queen” and “Pretty Vacant”. Performed with the same abrasive energy that established the band as one of the most influential acts in British music history. This special edition also includes the Japanese bonus tracks for the first time, making it the definitive version of this iconic live recording for fans and collectors alike.

You asked for one more. Laibach duly oblige with MUSICK : ENCORE, a follow-up album to their 2026 record MUSICK, out on Mute.

They answer the crowd's demand with six brand new tracks and reworks of songs from the original album, reimagined by an eclectic line-up. Vinyl takers get the core 10-track experience, pairing new songs with four key reworks from the band, Richard X, PUNCHBAG, and Balžalorsky. The CD goes further, expanding to 13 tracks with additional remixes, including a rework of new track ‘#US’ from SILVERWINGKILLER, an Algorithm remix of fan-favourite ‘Allgorhythm’, and a bonus version of ‘Love Machine’ courtesy of The Lincolnshire Poacher.

Where MUSICK turned maximalist, hyper-driven pop into a reflection on our oversaturated, AI-warped media landscape, ENCORE pushes further into that fractured hall of mirrors – glitching, distorting, and rebuilding the original tracks into new shapes, from pulsing electropop to warped Eurodance detours and everything stranger in between.

Ihr habt nach einer Zugabe gefragt. Laibach liefern: Mit MUSICK : ENCORE erscheint auf Mute das Nachfolgealbum zu ihrem 2026 veröffentlichten Werk MUSICK.

Als Antwort auf die große Nachfrage präsentiert die Band sechs brandneue Tracks sowie Neuinterpretationen von Songs des Originalalbums, umgesetzt von einer vielseitigen Auswahl an Künstler. Die Vinyl-Version umfasst zehn Tracks und kombiniert neues Material mit vier ausgewählten Reworks von Laibach, Richard X, PUNCHBAG und Balžalorsky.

Die CD-Version erweitert das Programm auf insgesamt 13 Tracks und bietet zusätzliche Remixe. Darunter befinden sich eine Neuinterpretation des neuen Tracks „#US“ von SILVERWINGKILLER, ein Algorithm-Remix des Fan-Favoriten „Allgorhythm“ sowie eine Bonusversion von „Love Machine“ von The Lincolnshire Poacher.

Während MUSICK maximalistischen, hochenergetischen Pop als Spiegel unserer reizüberfluteten und durch KI zunehmend verzerrten Medienlandschaft inszenierte, führt ENCORE diesen Ansatz konsequent weiter. Die ursprünglichen Tracks werden zerlegt, verfremdet und neu zusammengesetzt – von pulsierendem Elektropop über verschobene Eurodance-Ausflüge bis hin zu allem, was dazwischen noch eigenwilliger und unerwarteter wird.

Andreas Tilliander released »Ljud« in 2001 as the first full-length album under his real name. The year before, the Swedish producer’s »Cliphop« album under his Mokira moniker had established him in the world of adventurous electronic music and the clicks’n’cuts scene. »Ljud« was just as minimalistic, warm, and playful as its predecessor while also notably inspired by house music. It is a timeless record based on happy accidents, playful loops, and lively spontaneity. For its 25th anniversary, Keplar presents a vinyl reissue with adjusted artwork by graphic designer Marc Hohmann and updated mastering by the artist himself.

Tilliander laid the foundation for his two first albums when he got rid of most of his music gear in 1998 after meeting Joel Brindefalk, who was already releasing music on the legendary Börft label. Brindefalk was using a computer as his main instrument and introduced Tilliander to the audio editing suite Sonic Foundry Sound Forge. »What he did with that software is what made me sell most of the hardware except my Nord Modular and a Korg MS-20.« The former synthesizer played an integral role while Tilliander made the tracks for »Ljud,« working primarily in the modular studio environment Jeskola Buzz.

»Ljud« came together in an intuitive process. »It’s still how I work 25 years later: I first make loops, create bits and pieces, and build up my own sound library as a foundation,« Tilliander explains. The Nord Modular and Buzz, which allowed him to swap samples and produce new sounds out of pre-existing ones, provided him with material for loops that formed the basis of the ten tracks. »I would start with a few elements, add more into the mix, then take them out again—arranging the pieces in real time while recording.« The casualness and vivacity of this improvisational approach becomes tangible throughout »Ljud.«

»Ljud« was released on Achim Szepanski’s Mille Plateaux, which had published the seminal »Clicks+Cuts« compilation in 2000. »I was part of that scene and I liked the digital aesthetic of the label,« says Tilliander »Coming from a very analogue setup, working with computer music and this kind of minimalism was very inspiring.« When preparing »Ljud« for the Keplar reissue, he ran the music through an analogue outboard and noticed he was still happy with the way it sounded. »It brought back fond memories. I hope the same is true for people who heard it back then, and that everyone who discovers it now will enjoy it, too!«

One can only see clearly with the heart. Essence is invisible to the naked eye. Two South-Hessian music legends, Roland Leesker and Ricardo Villalobos, aka R+R, joined forces in 1995, long before they had the slightest idea what life had in store for them. Unreleased, mysterious, rough and old-school rave adventures, preserved on a dusty, long-forgotten DAT and later
remastered by Lopazz in 2015.
Now finding a new home on Secret Weapon Records as a limited white label vinyl release, the original is joined by a futuristic 2026 remix from Mr. Ho, who propels the track into new territory with razor-sharp electro rhythms, machine funk and forwardfacing synth work.
Love from all of us.

Lex Walton (née Alex) is an American songwriter, actress, prose poet, and filmmaker whose work is unflinchingly confessional, and whose live performances are filled with ecstatic masochism and flailing. In addition to her catalog of a dozen or so mostly home-recorded albums, EPs, and singles, she has recorded collaborations with Devi McCallion (Black Dresses, Girls Rituals), Geese, and Ezra Furman, written the pop music manifesto The Sound Rocker's Prayer, and starred in Louise Weard's five-hour epic film Castration Movie Anthology II: The Best Of Both Worlds.


ULTIMATE LOVE FOREVER is Lex’s unwavering, iconoclastic Sub Pop debut. Some of the tracks already have fans and the music press heated up, so we’ll let the critics do the talking! PASTE: “Walton’s wiggly, anxious power pop wades through pages of dead links and forum threads to get to its incendiary hooks... anachronistic collage of Edwardian portrait artists, country greats, and noise rock heroes… a roadside altar… with its lo-fi hissing and tongue-twisting one-liners.” The Quietus: "For fans of early Jonathan Richman, NYC gutter punks Dollhouse, or staring at the fluorescent lights of the Walgreens ceiling on your third day withdrawing from psych meds, barely able to parse the words ‘Medicaid coverage has lapsed’ as a pharmacist misgenders you. And also, later Jonathan Richman."


ULTIMATE LOVE FOREVER was written by Lex Walton, produced by Lex and Dan Boeckner, recorded, mixed, and mastered by Ben Greenberg at Thump and Circular Ruin in Williamsburg, with assistant engineer Alice Cohen. ULTIMATE LOVE FOREVER features appearances from Boeckner (Wolf Parade, Handsome Furs), Emerson Borakove, Alice Cohen, Brendan Dunphy, Emily Green (Geese), Greenberg (Uniform, The Men), Scotty Malcolm, Sarah Neufeld (Arcade Fire), and Sam Revaz (Geese).

From the first beat drop, "Paint The Picture" feels like a lost sweet soul tune you might find on an East Side Stories compilation. Frazer's trademark falsetto, catchy songwriting, and effortless soul is on full display here. You'll be humming this tune after half a listen. On the B side, "Back Into The World," Mr. Frazer demonstrates that he's more than just a one-trick lowrider pony. Planting his foot firmly into the modern soul sound here, sounding like something Numero Group would have unearthed years back, "Back Into The World" belongs in your next DJ set when you need something slightly uptempo to get folks on the floor.

WOW! An early ’80s New Wave, Electro, Proto-Electronica, Industrial and Kraut-Pop album that has never been released before is now coming out on Elaste Records and it’s a perfect fit! History is being made.

Quotes: “A pearl” (Hans Nieswandt) / “Great album” (Hell, Gigolo) / “Awesome album” (Patrick Pulsinger) / “Magnificent material” (Roman Flügel) / “An ’80s electronic gem… an ’80s Krautpop highlight” (Sankt Otten).

In the early eighties, Michael Heinkel was one of those quiet electronic musicians hardly anyone knew — at least outside of Munich. While machine rhythms were being perfected in Düsseldorf, dilettantism was elevated into an art form in Hamburg and West Berlin was soundtracking its own feverish coldness, Munich seemed to be a place where, apparently, nothing was happening. Or almost nothing. Because beneath the radar, far removed from the grand narratives of those years, Michael Heinkel was already creating his own electronic cosmos — stripped-down, idiosyncratic and often ahead of its time. Electronic minimalist music, born somewhere between a home studio, nightlife and the longing for a future that could only just be imagined back then. But the recordings disappeared into drawers, onto cassettes and tape reels. For decades, they remained a secret shared only among friends, insiders and a handful of close companions. It was only 45 years later that Andreas Dorau and Ralf Hertwig (Palais Schaumburg) — two defining figures of that early avant-garde — insisted that the recordings finally be made accessible. Not as an exercise in nostalgia, but as the overdue release of a missing piece in the history of German electronic music. This music is not a nostalgic retrospective. It is a delayed signal from a future that had already begun back then. Format: Heavyweight black vinyl incl. printed inner sleeve + download card



Quotes: -"Michael Heinkel's long-lost LP is a treasure trove. I'm constantly amazed at the musical gems from the early '80s that are still waiting to be discovered." - Hans Nieswandt (Whirlpool Productions) - „Some München musical history that somehow got missed at the time finally gets released after 40 years. Great album.“ - Hell (Gigolo) - “Awesome album! Today, we can only imagine just how groundbreaking electronic music at this level was back then. When gems like these are heard for the first time in perfect sound quality, it’s like a trip back in time to the early days of electronic music. Back to the future!!!” - Patrick Pulsinger (Cheap / iO / Sluts’n‘ Strings & 909 / The Private Lightning Six) - “Terrific material!” - Roman Flügel (Acid Jesus / Alter Ego / Sensorama / Warp 69) - “ELASTE has unearthed an 80s electronic gem! A German minimal wave gem-freshly unearthed! Minimal, rare, brilliant - an 80s Krautpop highlight.” - Sankt Otten - „Pure and delicious 80s Electronics from Munich. We love it.“ - Gorilla Aktiv

What's Left is the new album by Tom Henry, releasing November 20th, 2026 on Royal Oakie Records. Where his debut album Songs to Sing and Dance To leaned into big dreams, What's Left is a record about what remains once the dust settles, delivered with the wit and charm of a young rocker in his prime. The familiar influences are still there — Paul McCartney and Big Star loom large (though there's a little more Third/Sister Lovers this time around), but now the songs are lush and polished, with new sounds creeping in around Henry’s trademark power pop hooks. On a handful of tracks you can even hear strains of Syd Barrett influenced acid-folk alongside psychedelic rock that recalls The Brian Jonestown Massacre or The Beatles at their most lysergic.

Produced in collaboration with David Glasebrook (Patti Smith, Peter Case, Sugar Candy Mountain), and engineered by Glasebrook and Stephen Shirk, the album was tracked across two cities at Shirk Studios in Chicago, IL and The Garden Shed in Oakland, CA, where Glasebrook also handled mixing and mastering. The record's cross-continental origins reflect the movements of Tom’s own life over the past half decade, which found him departing his native Chicago for Los Angeles before returning home four years later, and lend the album its distinctive sound of Midwestern grit mixed with California sunshine across all twelve tracks.

Opener "Someone I Need" sets the tone: an old-fashioned, up-beat rocker built for a roadside diner jukebox somewhere out along the backroads of your mind — it's crunchy tape tones and horn arrangement lending warmth to the song as the narrator asks for a dance and beckons the listener along for the ride. By "It's Not Meant to Be," the record turns inward, wrestling with the exhaustion of trying to find love in the modern age — especially for someone who wears their heart on their sleeve and often comes to find their suitor's wardrobe doesn't have room. "Silverlake Song," reminiscent of early Donovan, kicks off with otherworldly sitar — a wry postcard from the west, tracing how the shimmering promise of L.A.'s Silver Lake enchants, bargains with, and ultimately tries to ruin the starry-eyed dreamer — and very nearly succeeds.

In addition to Tom–who sang and played guitar, bass, and keys–the album features musical contributions from co-producer David Glasebrook, Brian Daley, Joe Daley, Finn Swingley, Lewis Patzner, and labelmates Graham Patzner, Charles Lloyd, and Simon Beins. Liner notes come courtesy of Ian F. Svenonius, who — in the guise of one Johnny Sincere of Integrated Star Management Ltd. — recounts his company's failed attempt to sell Tom Henry a gimmick: a space suit, a coal miner's neckerchief, a lounge pianist's dead-eyed shades. Tom turned them all down. As Svenonius tells it, when reminded that every story's been told and every gimmick's been used, that all that's left is to admire the photographs of what's gone before, Tom simply shrugged: rock 'n' roll is an eternal spring, and if this is what's left, that's just fine with him — it's what he likes to do.

On Expensive Shit, Fela chronicles a failed attempt to imprison him for possession of weed in 1974. At this time, Nigeria was under a military dictatorship that had declared a war on indecency. Fela’s insubordination infuriated the government, and they repeatedly raided his compound, Kalakuta.

During one of the raids, an officer produced a joint from his own pocket and attempted to plant it on Fela, which Fela then swallowed. He was immediately taken to prison, where the police waited three days for him to “produce” an incriminating sample. When the time came, police took Fela’s sample for analysis and found nothing. Each night, Fela and his cellmates had swapped their slop buckets around, allowing Fela to relieve himself without the authorities realizing it. By the time of the public shit, there was no marijuana left in his system. The police had no choice but to let him go.

This 50th Anniversary edition is pressed on gold nugget vinyl, packaged in a trifold jacket that features elements of the original vinyl packaging alongside newly licensed images, a dossier envelope with poster, print, and newspaper clipping, wrapped with a metallic gold foil band.

Fourteen years have passed since Woollen Kits released two albums in a single year (Woollen Kits and Four Girls, both 2012), but Melbourne/Naarm’s beloved Kits are back to remind us what we’ve been missing all this time.

Weather the Storm still draws from the same deck of cards, but opens the door to some more classically renowned influences like The Velvet Underground, Television Personalities, Beat Happening ,Marine Girls, Bob Dylan, Van Morrison, et al.

Across ten tracks it’s clear just how well they can write a hook, a verse, a chorus, a song; bringing together themes of everyday life, love and sincerity with aphorisms, stories and the classic sound we know and love.

Woollen Kits’ approach is almost as minimal and primitive as it was back in 2007, when singer/guitarist Tom Hardisty first sent a few channels into the red on an old Tascam tape machine. Simple chords, strong melodies, witty lyrics and a clear message. It’s a hell of a combination when it’s done well, and one they would only refine from there.

Tom (Hardisty) recruited a second Tom (Ridgewell, drums) and a Leon (Applebee, guitar) to help guide his new Cramps/Half Japanese- worship bedroom project into a real-life band, playing their first gig on NYE ’08 before launching into 2009 to record their first canon release, the Teenage Love 7”.

Yes, much time has passed since the band’s last record, Four Girls, came out in late 2012, but in the interim members have released plenty of other music across numerous projects, including Constant Mongrel, Nun, Canine Apathy, The UV Race, TB Ridge as The Director, Calamari Girls & more.

22, A Million is a record of dualities. First released in 2016, Bon Iver's third album found Justin Vernon reckoning with pain and love, suffering and redemption, omens and happenstance. Such ambiguity is the core of how Justin composes words: there are always two ways to see something. Inside a fragmented language of symbols and numbers is a sonic distillation of past years of turbulence and how to recover. Across ten songs, 22, A Million shattered expectations of what a Bon Iver record could be. Through different groups of friends—close, passing, new, old—he began to assemble proto-melodies, vague textures and specific moods from hundreds of hours of recorded improvisations. Songs like “22 (OVER S--N),” “33 ‘GOD’,” “715 - CRΣΣKS” and “8 (circle)” traded familiar structures for fractured electronics, pitch-shifted vocals and dense layers of sound. What initially felt like a radical departure has since become one of the most influential and enduring works in Bon Iver’s catalog. 2026 marks the ten-year anniversary of 22, A Million. To celebrate,


Bon Iver and Jagjaguwar will release a deluxe anniversary edition pressed on Frosted Silver vinyl, featuring new alternative artwork with soft-touch finish and spot UV gloss detailing. The package will include the original 28-page lyric booklet, represented here in 3x silver inks, with an additional 12-page full-color inlay booklet documenting the album’s creative process through previously unseen artwork and an essay penned by Eric Timothy Carlson. The Brooklyn-based artist’s visual work has shaped the Bon Iver world since 22, A Million and his visual language has become inseparable from the album itself. A custom 12-panel ‘inverted cross’ CD edition will also be available.

2026 Repress.


There is with Tour-Maubourg an eternal desire to translate the feeling of love into music. Sometimes cheerful, sometimes melancholy, always exhilarating, the producer, native of Brussels and expatriate in Paris, has continued for 3 years to attract the praise of his peers and the support of a growing audience. The man who was described by Trax Magazine upon the release of his 1st EP as ‘‘one of the most promising producers of the French house scene’’ has revealed himself in this hyperactive new scene to become one of its best standards.

After several EPs released in France on Pont Neuf, FHUO (ie. Folamour’s label), as well as Happiness Therapy or in England and Germany on FINA and Salin, Tour-Maubourg unveils his first album, Paradis Artificiels. The Parisian producer refers to Charles Baudelaire’s poem, to which he links his melancholy music, who wrote:

‘‘common sense tells us that the things of the earth exist very little, and that the true reality is only in the dreams’’.

If the producer’s first EPs were mainly focused on club music, Paradis Artificiels oscillates between the atmospheres that made the success of these previous releases and those of a studio album. Composed of both house songs and downtempo sound researches, always flirting with the jazz sounds that have made the fame of the producer, this first album invites us on a journey in the lineage of St Germain, Massive Attack or Nicolas Jaar.

2026 Repress

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

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

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

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

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

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

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

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

Hot on the heels of the massive Grant Dell release, GEMS Delivers another slice of underground house excellence, continuing its relentless journey of showcasing both timeless and forward-thinking underground house music with a powerful new release from Gideon Jackson.

A 3 track EP featuring Helpless (Original Mix) — The standout cut from Gideon’s Outa The Blue EP (1996), capturing the raw, hypnotic energy of the era. Helpless (Freeform Mix) — A previously unreleased 1996 remix, unearthed from the vaults yet sounding as fresh and relevant as ever. Sales In the Wind — A brand new production (2025), proving Gideon remains at the top of his game with a refined yet unmistakable sound.

true underground figure, Gideon Jackson has been deeply embedded in the scene since the formative days of tech house. Renowned for his vinyl-driven approach to house and techno, Gideon blends styles seamlessly, creating a distinctive and instantly recognisable sound.

Widely regarded as one of the key pioneers of the London tech house movement, his productions helped define the genre’s early blueprint — fusing bass-heavy rhythms with hypnotic grooves. His work has appeared on respected labels including Loaded, Pagan, and his own imprint Outa The Blue.

After stepping away from the spotlight, Gideon resurfaced in 2017 with a standout podcast for Strange, reaffirming his influence and deep-rooted musical identity.

His long-awaited return to the decks came in October 2025 at Archivio presents Wiggle in New York, followed by a November appearance at Wiggle at Gaffe — marking a powerful resurgence for one of the scene’s original innovators.

2026 Repress
Efficient Space honours the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel’s self-released discography.

One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage—a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he cofounded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city’s house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma.

Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden—who supported The Beatles on their final UK tour and was signed to Decca and Columbia—the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release.

Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum—Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on 'On Release,' and Wicked Beat Sound System’s Kye on 'Poor Man Beggar Man Thief'. Meanwhile, 'Suicide Bomber' smoulders with the tension of a lost Muslimgauze relic, as the instructional 'Roll Up' and 'The Last Straw' spiral deeper into Omar’s signature production vortex— where space stretches in slow motion and walls reverberate with ricocheting delay.

A true icon of Sydney’s underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humour, wild anarchic personality, and enduring mantra: “Love and live your life”.1

Pablo Bozzi returns to his own imprint with Wired, four tracks of progressive house built for the long arc of a night — patient, physical, unafraid of melody.
“This one captures the full range and vibe of what I’ve been working on lately. I’m very happy with how it came together and hope you like it too.” — Pablo Bozzi

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

House is the Religion. The DJ is my Deacon. The Music is my God and James Bangura is cool af.

Genuine, passionate, clear, authentic and real…. He isn’t trying, he just is. And his music is the same. It’s fucking cool. It’s real and authentic and it just is James Bangura. So it’s a real honour to add him to the Shall Not Fade roster; from Techno to Jungle to House and everything between the DC native can extract the true essence of a genre and simultaneously make it his own & pay homage to its roots.

So on Jack Sermon there’s no surprise when he flexes a seemingly generationally inherited knack for all things House (and Techno) and delivers four tracks of raw, real, genuine House music. OG shit.

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‘House is the Religion, and the DJ is my Deacon, but the music is my God” says the Evangelical vocal on title track ‘Jack Sermon’. Never has there been a more aptly named track…This is a jack sermon… an OG inspired Chi town cut channeling early house music’s soulful beginnings delivered with straight up jacking house beat offset with laidback dusty dub chords….. We don;t say this lightly but we’re calling anthem on this one.

‘Scat Pack’ takes a more percussive and drum forward House motif. Thunderous kicks tease techno but this is still house, NY at heart complete with voguing diva vocals . Blown out and choppy we could say ‘this could have been ripped from a late 90’s club recording on a lost tape’ but that would do disservice to the precise but invisible fusion that's been laid down here..

‘Funk To Berlin’ opens the flip side and in Bangura’s journey to explore classic forms of house and techno, this track may well have taken root from Dub techno pioneers from the past. Deep dub chords and deeper subs lead the track but that jacking percussion makes this more than homage. Machine Funk, Machine soul. AA side business.

‘The Green Line’ closes out the EP in style.. rolling it out with skittering synths that work like percussion, ethereal pads and a faint vocal ‘Chicago’ spiralling into itself making this track one you can get lost in. Some might argue that this one is techno but who cares. It’s the journey not the destination. Two tickets please.

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If you don’t know James Bangura’s music already (or even if you do) do some digging.. Look for releases on Mister Saturday Night, K7! and Floorspeed and check his output as part of “Black Rave Culture” with Amal and Nativesun and as a member of Groovedeep with Toronto’s Ciel and fellow DC native Jackson Ryland.

To close, we’ll leave you with this note from James……. told he is cool af.

House music, to me, exists on a wide spectrum. I’m inspired by its many forms: stripped-back minimalism, percussive drive, hypnotic textures, and soulful undertones. Rather than confining myself to one approach, I treat each track as an exploration—testing structure, pushing rhythm, and allowing subtle details to carry emotional weight. The studio becomes a space where groove and atmosphere meet intention. This body of work highlights that process. It reflects how I balance technical precision with feel, tension with release, and tradition with forward motion. Every decision—from drum programming to spatial design—is part of shaping a sound that feels honest and instinctive. - James Bangura

On the heels of their incredible Designer Manipulation EP on Northern Front, Response & Pliskin present Always Drifting, their third EP for Wilderness, featuring four very special tracks that further mine the depths previously encountered on their Fresh Memory and Seabeams EP’s. Not one to be missed.

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

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

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

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

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

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

Nail is one of our favourite house artists. He was a key player in the 90s, not least with Nottinghman's DiY, then disappeared for many years before returning a decade or so again. Since then he has kept on turning out unique house jams (there have been tens of them by his and others on his latest label in the last six months) and now curates the first volume of House Fire Records material for his In The Dance label. This compilation brings together his aliases Scorpio Parish, DJ XE0re, George F, Peoples Inc. and Five Bagonag. The grooves are killer, the production perfectly undercooked, the swing often central to everything.

Love On Vinyl is headed up by K.C. aka K Civ, an American with deep roots in the scene and a legendary Boston selector who has now assembled the first instalment in a new Soul Tickler Essentials compilation series. It's drenched in love and soul and features a ton of timeless artists, starting with Ralf GUM's sunny, Omar-featuring 'Love Core.' Elsewhere, the musicality flows through subtle jazzy keys and Afro drums on Don Kamares's 'Batie' then Moodymann drops one of his deep and dusty soul grinders with a remix of Ralf GUM's 'With Her Hand'. Further gems from Trinidadian Deep and Aaron K Gray & Conway Kasey make this one a faultless selection of grown-up grooves.

“Wavebreaker” is a magnificent post-punk and minimal wave album originally self-released in 2024 by Orus Boris — a brilliant work that unquestionably deserved a proper vinyl edition for both its musical depth and outstanding technical quality. Built around a truly exceptional production, “Wavebreaker” moves in line with the finest contemporary wave sounds while constantly expanding its own universe. The album never feels nostalgic or predictable. Instead, it reshapes its influences into something fluid, sharp, and deeply personal, refusing to remain confined to a single language. Alongside its minimal wave foundations, the record introduces subtle incursions into darker electronic territories such as dark electro aesthetics, making each track feel unexpected and constantly evolving. Melancholy collides with tension, elegance with aggression, precision with emotional weight. The result is an immersive and surprising listening experience from beginning to end—a remarkable work that confirms Orus Boris as one of the most exciting and essential voices to follow within the new wave underground. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Mat Fink with his first solo EP, on new label, Funky Soul Creations, delivering driving bass-lines and jazzy melodics. 4 tracks telling stories of diversity and funkiness with touches of Detroit and Chicago energy. From a DJ for a DJ, the versatility of the release is for any environment whether peak-time in the club, at the afters, or just a Sunday afternoon listening. A Side opens with the title track, a raw funky tribal groove with an off-the-top one take vocal that was never written nor planned. That’s followed by a ‘Peace of Deep’, an early morning deep house mood that intensifies and inspires the sun to rise over the horizon. B Side is where the release becomes darker and quirky. The first track offers a hypnotic bass-line with deep textures and rolling percussion lines. The track is set in the environment of the long club night, managing the intensity and progressions.

The final track of the release is a cocktail party for the forest animals. Futuristic folk

2026 Repress

Sublunar, the label founded by Sciahri, is proud to present the debut EP of Australian artist Connor Wall with Equals. Known for his releases on Phorum and Moving Pressure, Connor Wall is one of those artists capable of crafting a deeply personal and hypnotic sound, where each track unfolds as a journey of its own.

The EP opens with Oak, a minimal yet driving and atmospheric piece, before moving into Invert, a powerful track built around a unique and relentless escalation of tension. On the B-side, Equals sets the tone with growing intensity and hypnotic vocals that carry a story meant to be experienced until the very end. Construct follows with darker, more obscure vibes, delivering a deeply hypnotic and mental atmosphere, before the EP concludes with The End, a truly mystical journey that captures the essence of an artist able to transform sound into narrative.

This has been a very personal project and a mammoth undertaking for us folks here PACE HQ: 12 tracks unearthed from the cult Scottish figure’s completely overlooked back catalogue. Collected archive material from the past 25 years, originally composed as an OST for the feature length film The Flesher (1992) which was also written, shot and directed by Rae. No copies remain. Deep cuts that span G-funk, hip-hop, house, synth-pop, electro, dub, downtempo, funk/soul, R’n’B with appearances from Rae’s heavyweight list of frequent collaborators… Bernie Worrell, Adrian Sherwood and Jimmy Douglass.

"In 1991, the Scottish Rugby Union & the Royal Bank of Scotland, commissioned me tae make the world's first Scotland World Cup music video... they didn’t pay me so I fought back. It took 18 years tae win, and I nearly lost everything. I turned to audio visual art: under the pseudonym Jock Pleasure - I wrote and directed a feature length film called The Flesher as well as creating 100s of full length DVDs and tracks” (Jesse Rae).

One man took on the banks and won, but it took its toll and in this totemic corpus of work Jesse Rae counts the cost. The Flesher is art as pure defiance: “this stuff is very dark and deep, it is such a vast body o’ work, but when I won my battle against the bank, I secretly returned tae Hodge Close (in the Scottish borders) and dropped the entire work sealed in stone intae the deep deep murky depths of that water, where it has remained since 2009. There are no mair copies."

What we have here then is the salvaged remains. A hopeful dunt of Scottish erotica that gets you right in the pits.

Splice DJ Screw with Dean Blunt, Moodymann, Prince, Cocteau Twins, MF DOOM, Luther Van fuckin’ Dross, Barry fuckin’ White; run that through the B-movie videotape static meets Harmony Korine, Les Blank & early Grand Theft Auto. Empty boulevards. Small-town strip joints. Late-night dial-up. Sacrifice and solace. Outside of the OST, there’s a cast of forgotten characters: primary school kids making house jams, teenage popstars from the Scottish Borders, and the rhapsodic Ayrshire soprano NIKA laying down haunting vocals in Miami.

Celebrated as a cult figure in the USA, Jesse’s work has never fully had the appreciation it deserves at home. Not really. Aye, we know Inside Out and The Thistle. But he’s too easily fobbed off as an eccentric outsider: a helmet-wearing, claymore-wielding gimmick. But do we really know the extent of what this man has done - and gone through - for the sake of art?

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

Vinyl LP with 4 page insert, original artwork and photos

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

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

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

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

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

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

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

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

Luca “DJ Rocca” Roccatagliati isn’t just a producer, he’s a shapeshifter of sound. Emerging from the late ’90s under the Maffia Soundsystem alias, he’s spent decades bending genres, dissolving boundaries, and reconfiguring the DNA of club music.

From cosmic disco to leftfield house, Rocca’s catalogue reads like a map of underground excellence. He’s collaborated with a roll call of innovators—Howie B, Dimitri From Paris, Daniele Baldelli, François K, Jazzanova, Zed Bias and many more. Crafting releases for some of the most respected imprints in the game: like Rekids, Toy Tonics, International Feel, Defected, Rush Hour, Hell Yeah, Rotters Golf Club among others.

His output is prolific, restless, constantly evolving.

Partnership is central to Rocca’s universe. With Dimitri From Paris, he co-created Erodiscotique, a sleek electro-disco project that fuses vintage sensuality with future-facing production. Alongside Daniele Baldelli, he’s explored deeper, more psychedelic terrain, delivering albums like Podalirius and Quagga—records that blur the line between Balearic mysticism and dancefloor propulsion.

His aliases Ajello, Supersonic Lovers, Crimea X are parallel auditory dimensions. Each one pushes a different facet of his sound, from Italo-tinged grooves to raw, analog-driven club cuts. As a remixer, Rocca has reworked everyone from Andrew Weatherall to Soul Clap, always imprinting his unmistakable signature.

To say we are excited about this new EP is kind of a massive understatement……

Having been huge fans for over two decades, when he reached out to us it was a bit of an eye rubbing and arm pinching moment.

We have been graced with a 3 track EP titled “Tonight is the Night”

A1. Sun Deck – A link-up with Athens mainstay Lex, drifting somewhere between yacht funk and late-night boogie. Sun-washed grooves, crisp synth leads, and just enough 80s energy to keep it moving without trying too hard.

B1. Italo Boogie Stomp – Does exactly what it says. Rolling Linn drums, sharp synth lines, and a nostalgic flute motif that nods to NYC’s street soul era without getting stuck in it.

B2. Ferroso – Picks up the pace slightly. Deep house drums meet a driving electro bassline, with arpeggiated synths and warm pads rounding it out—focused, functional, and built for the floor.

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

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

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

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

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

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

Yore Records presents: Craig Alexander - Phenomenal Woman / Across My Mind (12" Maxi Reissue)
Following his recent appearance on the label, Craig Alexander returns to Yore Records with a carefully curated reissue of two standout House Workouts: Phenomenal Woman and Across My Mind.
Originally released on earlier records, these tracks are now brought together on one 12" - each presented in two distinct mixes - capturing the raw, emotional depth of Chicago House in its purest form.
At the heart of this release lies Phenomenal Woman, a track that draws inspiration from Maya Angelou's iconic poem of the same name. Rooted in the African-American cultural context, the piece carries a subtle but powerful message of identity, strength and self-definition - translated here into deep, jazz-infused House music.
Across My Mind complements this with a more introspective tone, driven by warm chords, understated grooves and a timeless sense of space.
Together, these recordings embody what House music has always been at its core:
music with a message, shaped by lived experience, culture and emotion.
Stripped down, honest and deeply rooted, this is Chicago House in its most original and authentic form - a sound that continues to resonate far beyond the dancefloor.

Limited to 250 copies worldwide / no repress.

Adam Freeland relaunches Marine Parade with the ‘Transhuman’ EP, a collaboration with Spooky’s Duncan Forbes and the first of three releases set to arrive throughout the year. Available to stream now, the title track previews a deeper, more atmospheric direction ahead of Freeland's first solo material in sixteen years and the first new music on Marine Parade since 2009.

Across Adam Freeland and Duncan Forbes’ ‘Transhuman’ EP, broken rhythms sit subtly beneath spacious arrangements, while flickering synths, sci-fi -infused vocals and static-charged textures create an immersive, cinematic feel. It's a sound that reflects both Freeland's longstanding love of dub and Techno and the distance gained from stepping away from the dance music landscape in the 2010s.

Best known for his seminal ‘Coastal Breaks’ mix album and a run of acclaimed releases, remixes, and mix compilations spanning Fabric Live, Global Underground and Back To Mine, Adam Freeland spent a decade living off -grid in California’s Mojave Desert, while also working with Ry X to form The Acid, a band that has since released the ‘Liminal’ LP on Mute/Infectious, penned a film score and toured to great acclaim from well outside the electronic world.

Joining Adam Freeland is Duncan Forbes, one half of pioneering UK duo Spooky, whose landmark releases on Guerilla Records and influential debut album ‘Gargantuan’ helped define the early ambient Techno and progressive House movements. In the decades since, Forbes has continued to evolve through projects including collaborations with Mr. G and Sasha, as well as recent solo releases via Enzo Siragusa’s Fuse London and his own 49North imprint.

The ‘Transhuman’ EP marks the beginning of a new chapter for Marine Parade, with two further EPs from Freeland scheduled throughout 2026. The label will also expand with forthcoming material from longtime friends and previous label artists Evil Nine, alongside a new generation of talent joining the roster.

Common Language is a project of the Community Library label. We started it as a way to reconnect with the ideas that drove ComLib’s inaugural releases back in 2005, uncompromising and eclectic DJ 12’s. We’ll be focused on this imprint for a while, and near-term, putting the emphasis on releases by label cofounders and our closest friends.

On CLANG02, the Middlemarch 12” EP, Solenoid transmutes his signature buoyant syncopated acid, electro, and mutant techno into moodier, reverberant territory. If you previously knew Solenoid for his restless, sophisticated Braindance-adjacent stuff, this EP is totally consistent with his long discography. Here though, he gets into a dreamier, and also bassier zone that is equally rewarding either in the innerspace immersion of headphones or in the warmth of your favorite local underground club’s sound system--lots of detail and atmosphere to sink into.

“Middlemarch” is moody deep techno-- a clatter of distant percussion encircles eerie pads and an extra-bassy, double-filtered TB303 bassline. “Ways and Means” rotates perplexing polyrhythmic patterns driven by bright, elasticchords that keep it moving (reminding me of The Martian’s stuff on Red Planet a bit). “A Winter Walk” offers a skeletal, skittering rhythm that wouldn’t be out of place next to a Livity Sound track; and the closer, “Dvv Waltz” reserves a 3/4-time experiment for the bravest / most inquisitive DJs.

Edition of 300 vinyl copies includes special full- color insert
Mastered by Dietrich Schoenemann

About Solenoid
Solenoid is the primary musical vehicle of David Chandler, a lifer underground producer, musician, and visual artist. As a lone electronic voice in the wilderness of early-90s Portland (which was at the time a grunge-saturated third backwater) he started out releasing adventurous, now- unobtainium tapes on his DIY Pharmacy label. Solenoid then became known internationally at the turn of the millennium as one of Portland’s persistent ambassadors for underground crossover electro and techno, releasing on labels like Outward Music Company, Emanate, Orac, and many others (most recently, on the Paris label Partout). He’s a real legend honestly--doggedly clocking in almost 40 years of uncompromising experimentalism with a signature sound and vision running all the way through.
-- Paul Dickow (Strategy)

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

Four explosive tracks, three powerhouse artists, one essential wax. Experience the ultimate Afro-Funk-Disco fusion—strictly vinyl, purely devastating, only via Bud Records.

A legend returns as the alias of scene stalwart DJ Levi and Curvature co-creator Ghosts of MIDI unleashes an EP of seismic tracks backed with remixes from ASC and Aural Imbalance. A1 - Iron Dinosaurs Opening a fine Curvature debut for the label’s very own Dan Azimuth, Iron Dinosaurs is an epic piece of atmospheric goodness introduced with a long, elegant intro of synths and luscious female vocals. Before long, classy, energetic metallic breaks kick in, set to an immensely memorable key melody and a room-filling bassline, creating a breathtakingly fluid and captivating piece. A2 - Iron Dinosaurs (ASC remix) Taking an incredibly evocative track and lacing it with sprinkles of ASC goodness to create a true gem is the order of the day here, as the heart of the original courses through an ominous intro, quickly beset by fine analogue amens that hit hard for the dancefloor, while allowing the soul of the piece to breathe, syncing in harmony with the distinctive vocal samples and swirling synthwork that colour the atmosphere so perfectly. B1 - Deadly Dimensions A DJ-friendly intro of hi hats gradually ushers in epic, bassy melodies gliding through serene vocals and airy pads, before the drop reveals exquisite breaks with just the slightest hint of an apache in there. Very danceable, the breaks are chopped and diced at will, driving a determined pace for another superbly epic, ethereal piece of atmospheric drum & bass from one of the OG’s of the scene. B2 - Deadly Dimensions (Aural Imbalance remix) The EP closes with a real treat - this is as close as an example you’ll hear to a match made in heaven as the eerily epic production of Ghosts of Midi collides with the inimitable ambient mastery of Aural Imbalance. Intersecting the thoughtful vibes of the original, this remix sees playful old school breaks jostle with swathes of fluid synthwork and delicate pads, creating a unified expression of atmospheric purity.

The Mighty Diamonds are one of the most famous vocal groups to come out of the Jamaican Reggae scene.
Their perfect harmonies ride over the wholesome and Garveyite influenced lyrics to such great effect that they will always evoke memories of that time and place, but also like all great music never seems to date.

The Mighty Diamonds consist of Donald ‘Tappy’ Shaw (lead vocals) Fitzroy ‘Bunny’ Simpson and Lloyd ‘Judge’ Ferguson providing those fantastic harmonies.
They began their recording career working with producers Stranger Cole and Rupie Edwards but found their breakthrough success with producer Joseph ‘Joe Joe’ Hookim at the legendary Channel One Studios recording ‘Hey Girl’ and covering two foreign tunes namely ‘Country Living’ (The Stylistics) and ‘Stoned Out of Mind’ (The Chi-lites) which suited their vocal styles perfectly.

The vocal group also cut tracks with other famous producers of the time Joe Gibbs ,Gussie Clarke and Mr.Tappa Zukie of which we focus this release on.On listening, these tunes work perfectly with harmonies weaving together and lifting the songs to another level.
The group also leave some room for a history lesson in the shape of ‘Morgan the Pirate’ and the thought provoking ‘Do You Want to Spend Your Time Wasting Time’.
Well waste no more and enjoy this set by one of Jamaica’s finest vocal groups….

FatCat was recorded in a single session-live, with all four musicians together in the same place. What you hear on the record isn't a polished production, but a one-of-a-kind recording of four people playing at the same time in the same room.
This is not a nostalgic gesture. It's a stance. As music is increasingly understood as the output of a prompt, the question of what actually makes music becomes urgent again. Not flawless, efficient production, but the imperfect moment and its context. Not the result, but the process in which four people listen to each other, react to each other, misjudge, and find one another. This fallibility - the hesitation before an entrance, the slight pull in the timing, the glance between musicians that signals a turn - is not a weakness but the substance itself. It cannot be synthesized, because it isn't a data point but a lived relationship: between the instruments, between the people, between their shared history and what emerges new in this one take. The album is thus also a statement on the question of where, in the age of generative music, authorship and art can still be located: not in the result alone, but in the shared risk taken in creating it.
"The question was always: how do I bring my work as a producer and beatmaker onto the stage? How can something that usually happens alone behind closed studio doors become a live experience?" With the album FatCat, Sepalot pursues this question to its logical conclusion: what began as a live performance now becomes the recording itself - the studio becomes a stage for a day, and the stage becomes the definitive version of the album.
The love for electronic music remains, the raw pressure of hip hop is still palpable - and yet everything on FatCat sounds like a fresh start, captured in the very breath in which it was played.
On stage as in the studio, the four characters fit together like a puzzle. Sepalot's signature as producer and mastermind is unmistakable. On drums, Fabian Füss, longtime partner behind the kit and the voice that makes Sepalot's radio hit "Rainbows" so unforgettable. On bass, Robin Jermer. On trumpet, Matthias Lindermayr, multiple award-winning jazz virtuoso with his own albums on Enja Records. And then there's Sepalot himself, who turns it all into more than just the sum of its parts.
The eclectic beats, the pulsing bass, Sepalot's passion for atmospheric sound design - all of it remains, now joined by an element of jazz and captured in its most immediate, unpolished form. The album shows what four people in one room are capable of: a sound born of shared experience, and precisely for that reason, unique.

Following the massive, multi-platinum success of the global hit "A Bar Song (Tipsy)" and his breakout contributions to Beyoncé’s COWBOY CARTER, Shaboozey returns with his most ambitious work to date: the new concept album, The Outlaw Cherie Lee & Other Western Tales. Building on the genre-bending foundation of Where I've Been, Isn't Where I'm Going, this project cements Shaboozey’s status as a pioneer of New Americana through a cinematic outlaw revenge story with a tragic love at its center.

The narrative follows Cherie Lee, who, after witnessing her sheriff father’s murder by the Bootcut Boys, abandons the badge to hunt the gang down one by one. In the heat of her vengeance, she falls for an outlaw—not the killer, but a man guilty by association. While he seeks redemption through her love and she seeks a cure for her darkness, both find that violence is not so easily escaped. When her lover kills the real murderer in her name, he proves that bloodlust doesn’t end; it only evolves. In a devastating final act, Cherie chooses her vendetta over her heart, killing the man who loves her most and fully becoming the very monster she set out to destroy. Gritty, soulful, and narratively daring, The Outlaw Cherie Lee is a bold evolution from one of music's most dominant current forces.

David Rodigan MBE and Defected Records announce the release of House Of Roots; a specially curated three-track remix project by the legendary tastemaker, DJ & broadcaster, reimagining Defected classics as they’ve never been heard before.

House Of Roots has been born out of a partnership that’s blossomed since David first touched down at Defected Croatia in 2025, with his performance becoming one of the defining moments of the entire festival. After returning to Croatia for this summer’s festival finale, Rodigan - this time armed with the House Of Roots remixes - delivered another landmark set, underlining exactly why he remains such a revered DJ & selector.

The House Of Roots project reimagines Defected’s rich catalogue through the lens of reggae, dub and drum & bass in a celebration of music genres that have continually inspired one another throughout the decades.

Enlisting legendary drum & bass originator Shy FX, jungle maximalist CLIPZ, and fabled dub reggae producer & engineer, Prince Fatty, to remix three of the label’s seminal records - Fish Go Deep’s 2006 classic ‘The Cure & The Cause’, Soul Central’s ‘Strings Of Life’ (2004) and The Vision’s ‘Heaven’ (2019) - House Of Roots marks some of David’s most important and intriguing curatorial work yet.

House of Roots comes as a limited edition 7” box set including the 3 remixes plus exclusive dubs and instrumentals plus a 16 page sleeve note collectors booklet.