Search:u 202

TALCO melden sich mit ihrem bisher wohl ambitioniertesten Werk zurück. "Freek" erscheint am zweiten Freitag des Jahres 2027! Eine kühne und unverblümte Reise durch mentale Käfige, ruhelose Gedanken und schwebende Träume. Das Album präsentiert TALCOs unverkennbare Punk-Ska-Energie mit einer schärferen, introspektiveren Note. Geschrieben von Tomaso De Mattia (Dema), Sänger und Frontmann von TALCO, setzt sich das Album mit den unsichtbaren Strukturen auseinander, die uns in einer von Image und Performance besessenen Welt prägen. Im Zentrum steht die Frage: "Lohnt es sich, den Traum vom offenen Meer aufzugeben, nur um ein von anderen entworfenes Rennen zu gewinnen?" Es ist ein Konzeptalbum, das mit surrealem Storytelling eine statische, dekadente Gesellschaft reflektiert, die unfähig scheint, kulturelle oder politische Risiken einzugehen. Die italienischen Alternative-Ska-Punk-Rocker aus Marghera/Venedig haben sich mit ihrer Kombination aus schnellem Punkrock, Ska-Einflüssen, Blasinstrumenten und italienischer Volksmusik sowie ihren sozialkritischen, oft politischen Texten in ganz Europa einen Namen gemacht. Freek markiert eine Rückkehr zu den Wurzeln des Albums "Gran Galà", angetrieben von der kalifornischen Punk-Energie von "Videogame". Und dies ist erst der Anfang einer Reise, die weit über die Musik hinausgeht. Viele Überraschungen erwarten uns. Ein volles Dutzend Tracks im beliebten Punkchanka-Stil zum Genießen (plus vier weitere (die B-Seiten)), darunter das bereits digital veröffentlichte "Dalla Mia Parte Ella Strada" und die kommende Single "Disco Inferno". Das "Freek"-Konzept wird von einer Geschichte begleitet, die in den offiziellen Videos, den zusätzlich digital veröffentlichten B-Seiten (auch als Bonustracks auf CD erhältlich) und einem Graphic Novel/Comic aufgegriffen und erweitert wird. Das Comicbook ist Bestandteil der limitierten Freek Deluxe Pizzaboxen der beiden Formate. Als LP schwarz, LP farbig, CD mit Bonustracks und limitierte Deluxe Pizzaboxen mit Extras erhältlich.

2026 Repress

Quickly building a following as purveyors of some of the very finest edits around, Samosa Records announce the 7th release since their debut just over a year ago.

Back for his 3rd appearance on the label is none other than big boss De Gama, dropping off a truly tropical package with the 'Back 2 Afrika' EP.

Whether he's showcasing the true warmth and joie de vivre of the continent soca-style on 'Tropical Boogie', or setting off into the organ-and-horn-fueled delirium of 'Cosmic Safari', De Gama is on a mission to turn up the temperature.

And with a fresh, remastered edit of the best-selling dancefloor destroyer that is 'AfrikA' on the flip, winter 2018 might just go down in the books as the warmest one on record.

2026 Repress

Samosa Records swings back into action for the summer months with Afrikano Vol. 1 - a scintillating four tracker EP from Various Artists which you will fall in love with on the first listen.

On the A-side, the always impressive Vagabundo Club Social kick things off with the enigmatically titled ‘Mr. Mista’ - a hypnotic, (almost calypso inspired) rhythmic explosion of Mibra guitar, whirling organ, horns and a wicked high end laser sweep. This is a pure chugger, folks. At a deceptive 120bpm it will have you dancing til dusk.

A2 brings us ‘Sweet Dance’ where C. Da Afro met De Gama: after a brief shuffle beat start (liberally peppered with rhythm guitar and organ stabs), the unusual duo make sure it’s all about the beat and horn breakdowns. Pre-drinks in Lagos, people watching and waiting for the night to start is the order of the day here. Cut this in half and it has ‘summer’ stamped right through it. Gloriously sweet.


On the B-Side, Atchoum & Grincheux take centre stage with ‘Demokoussé’. Les Inferno applies the special retouch here, and straight away we’re treated to a gloriously produced trip through breakbeat inspired beats, deep, throaty horns and an outrageously soaring sax. Oh you want more? Well try the addition of the gorgeous spiritual vocals that put the bow nicely on this African sizzler.

Finishing the EP on B.2 is Lego Edit and the aptly titled ‘Afromaniaco’. A pulsating, horn inspired shaker, this track grabs you right by the beat bone from the off and won’t let go. Lego Edit’s trademark deft touches and attention to detail is all on display here - sweet sounding African vocals weave in and out of the almost melancholy horn stabs and washboard beats. A soundtrack for one of those incredible sunsets, ‘Afromaniaco’ is the missing piece of this diverse jigsaw.

With Afrikano Vol. 1, Samosa Records has found the perfect accompaniment to what is hopefully a long, hot summer. So Samosa, so brilliant.

2024 Repress

Sublunar proudly presents "Pareidolia II," the latest EP by Sciahri, marking the next chapter in an evolving sonic journey following its first installment. This four-track release explores a spectrum of techno landscapes, offering a blend of pulsating rhythms, hypnotic sequences, and emotive soundscapes.

On the A-side, "One Letter" captivates with its infectious groove and fluid bassline, while "Homid" invites listeners on a minimalist journey, where hypnotic synth sequences create an enthralling atmosphere that captivates from start to finish.

Flipping to the B-side, "10k In One Year" enthralls with its sharp stabs and captivating rhythms, while "No Tears" delves into deeper, more introspective territories, combining classic elements with modern sensibilities.
"Pareidolia II" invites listeners to immerse themselves in a diverse array of techno experiences, each track offering a unique perspective on the genre. It's a testament to Sciahri's artistry and Sublunar's commitment to pushing sonic boundaries.

Dele Sosimi Afrobeat Orchestra - Too Much Information (Remixes)

2026 Repress on Black Vinyl!

2026 Repress

Feral is back with a second EP on his own label Aube Rouge. "Chiromanzia" is intended to represent the psychedelia behind the world of fortune tellers.

2026 Repress

2026 Repress

The fourth work of art by Introversion on the label, is a mature take of what he is known for. Three years after his debut on the label this artist gave us only the best from a technical and emotional point of view, always being a step ahead. "REM" is the study of a vivid dream, an electrical & chemical activity, a deep dive into his consciousness and another confirmation of how this artist is able to effortlessly take us inside his world.

2026 Repress

Chami and DHAEUR step up for the first release on DIG Curated, the sub label of Dust in Grooves (DIG), a pioneering force in the world of vinyl techno, born in Berlin. This passion project, launched by Olivia Mendez and Chami, spotlights emerging artists who embody the essence of the imprint's signature style--sophisticated, timeless, and groovy. With each release, a new talent is endorsed by a seasoned digger from the scene, aiming to push forward undiscovered sounds and empower the community.

After years of refining his palette as a dedicated DJ and acoustics master, the Italian-born, Berlin-based DHAEUR
has developed his distinct creative vision rooted in sound quality and stylistic research. At the time of crossing
paths with Chami, DHAEUR had already produced a handful of immersive tracks, exploring unknown territories
while keeping things minimalistic, giving DJs the freedom to construct their preferred sonic environments. Four of these tracks are pressed on DIG Curated 001, marking the beginning of a chapter for the sub-label that brings forth the future sound of techno.

The opening track of the release SUBJECT ZERO is a cinematic, mental, elegant journey, playing with the
perception of built up anticipation. This boundless, loopy soundscape is designed to induce inner quests on the
dancefloor and is a grand point of departure to unknown adventures ahead. This interlude of primordial grooves sets the scene for a voyage through a not-so-distant world where dystopian visions and technology merge with hypnotic synths. Evoking human emotions and desires is the hot and groovy track MIN(E)D, with vocals that could be from a female replicant building her own sonic web3 through the soundsystem of a steamy dancefloor.

On the B side, things quickly gain power and intensity, with STEPS racing through pounding beats, enigmatic
pads, and unpredictable claps, only tamed by DHAEUR's impeccable acoustic design. The EP closes with the cryptic, mechanical sounds of HEX 1904d1, deconstructing old patterns and programming a new form of evolved consciousness--inspired by precision and a reverence for organic movements.

All tracks mastered by Nihad Tule.

Words: Lora Mateva, Orb Mag

2026 Repress

Sasha & Franky Wah reunite for second collaborative single, 'Get On My Level'.

The club-ready cut blends marries inviting darkness with meticulous synth craft.

Seasoned electronic favourite Sasha and contemporary trailblazer Franky Wah have shown great creative chemistry in both the studio and the DJ booth: their fi rst hook-up was on Last Night On Earth back in 2020 when they dropped the huge four-track 'Haunted EP.' Since then, they’ve reunited for multiple b2b sets across the globe - from Sydney to Ibiza. Now they have once more combined their respective nous into a new track destined to become an Ibiza anthem this summer.

'Get On My Level' is primed and ready to shake up the dance fl oor. It's powered by a warped, dark bassline that throbs underneath subtle percussion. Plenty of open space lets a moody atmosphere draw you in, while skeletal drums and percussion keep things moving before a big drop, and wispy synths inject future energy as a grainy, ominous voice lurks in the shadows. Dub and instrumental versions are also included to cover all bases.

After their recent LP Mirages (Kraak Records, 2025) with French turntablist Guilhem’All, the group continues to explore collaborations with artists and instruments from diverse musical traditions. Building on decades of uncompromising acoustic exploration, Razen delves deeper into their practice with five improvisational pieces that unfold slowly in time and space. The duo’s radical core - Brecht Ameel and Kim Delcour - finds in Van der Harst a longtime kindred spirit, united by the impact of sound, intonation, and the sheer joy of playing.

To be released on April 24 via VIERNULVIER Records, the artwork for Stained Glass Starling was created by American visual artist Robert Beatty (Oneohtrix Point Never, Christina Vantzou, The Weeknd, Tame Impala). The physical release comes with a 16-page booklet including artwork and an interview.

A long-standing artistic kinship lies at the heart of this project, with first encounters dating back to the early 2000s in Belgian musical improv theatre. Van der Harst’s lifelong experience in improvised music and music theatre, spanning back to the 1980s, combined with a vast arsenal of rare and historical instruments, opens new tonal territories within the Razen universe.

These explorations are not incidental: his family roots in the former Dutch East Indies — through his great-grandfather — provide a quiet backdrop to his enduring affinity for Asian musical traditions. Instruments such as erhu, Javanese kacapi, and others introduce timbres
that bring the music its most pronounced Asian inflections to date.

Yet despite this shift in colour, the underlying ethos remains unmistakably Razen. Working from sound rather than form, the ensemble approaches music as painters approach a canvas: adding layers, contrasts and shades with care. There is no soloist’s ego here; all voices are equal, echoing principles found in gamelan traditions.

Over the decades, Razen and Dick Van der Harst have crossed paths repeatedly, notably through cult theatre productions by Belgian theatre maker Eric De Volder, including Zwarte vogels in de bomen (2002) and Huis der Verborgen Muziekjes I–II (2000–2006). Recording an albumtogether had long been a shared aspiration — a wish that crystallised after a 2024 concert at Concertzaal Miry in Ghent, part of the Ruiskamer series by VIERNULVIER Art Centre.

ABOUT PHONE ME TONIGHT

Phone Me Tonight was recorded in 1981 at Studio Maïa in Bondy, just outside Paris - a creative hub where many artists of the African diaspora shaped their sound. On this track, Eko Roosevelt collaborates with producer Gabriel Nahas, known for his work with artists such as Pasteur Lappe, Marthe Zambo, Toto Guillaume, and Manu Dibango. The result is a shimmering blend of synth-driven groove and Eko’s signature ‘Funky Disco Music’ sound, capturing a moment where analogue warmth met futuristic ambition.

For this 2026 reissue, Phone Me Tonight has been carefully restored and remastered, breathing new life into Eko’s iconic Yamaha DX7 synth lines. The track has been subtly tightened to the grid, making it perfectly suited for contemporary dancefloors & dj’s while preserving its original spirit and charm.

This EP also offers a glimpse into Eko’s creative world: rare photographs of his home studio in Lobé, featuring the very DX7 synth used during the original recording. In addition, you’ll discover exclusive footage from the Phone Me Tonight video shoot, filmed at the breath-taking Lobé Waterfalls, documented together with Lobé’s community throughout 2025 and 2026.

ABOUT LOBE MON AMI

Lobé Mon Ami was written by Eko Roosevelt in 1981 as a heartfelt tribute to his home community of Lobé in Cameroon. Two versions of the song exist; this EP presents the rare and original version, restored and remastered here for the very first time. Using the download code, listeners can also access an exclusive alternate version of Lobé Mon Ami and the full EP in digital formats.

The song weaves together multiple languages, including Batanga and French, reflecting the rich cultural fabric of the region. Through its lyrics, Eko tells the story of his life - born and raised in Lobé, venturing abroad in pursuit of music, yet always drawn back home. Each return rekindles his deep connection to Lobé. In a poetic gesture, he names surrounding villages in various languages such as Batanga throughout the song, turning it into both a personal memoir and a cultural map.

ABOUT EKO ROOSEVELT

Born on November 13, 1946, to princess Kethy Mbenyo and William Roosevelt, Eko Roosevelt has led a life filled with mythical appeal and musical excellence. Local lore recalls how, at the age of ten, he bravely fought off and killed a serpent near the waterfalls of Lobé. An event that became part of his local legend prior to his enduring legacy as a musician and traditional chief.

Eko Roosevelt discovered his passion for music in church before furthering his studies in Dakar, where he met his wife, Nicole. Together they moved to France, where Eko launched his recording career - first with the Dikalo Group, and later as a solo artist. His discography includes standout releases such as Kilimandjaro My Home, Funky Disco Music, and the hit single Nalandi. In 2020 he renewed his status as hitmaker through his work with Disclosure on the revised version of his single ‘Tondoho Mba’, originally released in 1982. His enduring legacy and pioneership within Makossa and Funky Disco music helped shape the sound of many DJ’s and producers such as Gilles Peterson, Disclosure, Folamour, Diplo, ANOTR, Jax Jones, Sonny Fodera and Daphni.

Over the years, he shared stages and collaborations with renowned artists including Claude François, Nino Ferrer, Manu Dibango, and Miriam Makeba. As a producer and arranger, he became a respected figure across the African diaspora, working with talents such as Toto Guillaume, Marthe Zambo, M'Pongo Love, and experimenting in the studio with visionary artist Francis Bebey.

In 1998, Eko returned to Kribi, where he continues to live, create, and perform. Alongside his musical career, he has composed three albums of Catholic music, still awaiting release, and is currently working on new material. Today, he remains a beloved figure both locally and internationally.

Since 1996, he formally assumed his role as traditional chief of Lobé (usually reffered to as 'Chef Traditionnel'), following in the footsteps of his grandfather; his majesty ‘Bevigna Eko Louis’ - an enduring source of inspiration throughout Eko Roosevelt’s life. Despite his royal duties, he continues to perform regularly across Cameroon. When he takes the stage, entire crowds sing along to Lobé Mon Ami and classics like Nalandi and Attend-Moi, celebrating a legacy that bridges generations.

Balancing tradition and music, his majesty Eko Roosevelt Louis remains deeply committed to both his community and his art. This reissue of Phone Me Tonight / Lobé Mon Ami marks a renewed chapter in sharing his rich musical legacy, and his musical future with the world.

After he dropped his full debut with Sneaker back in 2024, Oxford’s own Silas steps back up to serve more crispy grime variations. With a deep affinity for the power of a 140 instrumental, his breakthrough streak continues to yield the toughest beats with a stripped back, steely resolve that could fold into all manner of dance situations.

Continuing the pressure laid down on the ‘Wot’ EP, the A side bowls in heavy with ‘Dimensions’, a cool and deadly whip-up of nervy string stabs and crooked, cubist drums. Meanwhile ‘Lost Souls’ amps up the atmospheric tension and lets the bass flex out behind the groove for a potent sidewinder joint to get the whole club shifting its stance.

‘Book Of Spells’ on the flip stretches the nervous energy out even further, leading in on the iciest ambience before locking into a devastatingly stripped down drop evoking the assured restraint of the weightless grime days. Making sure nothing feels too predictable, Silas pivots to a rugged, 2- step informed structure on final floor wrecker ‘Ritual Step’ . It’s another demonstration of the clear-eyed intention at the heart of everything this must-check producer puts out — a consistency of vision yielding some of the dankest workouts in the wider bass music sphere.

Sound Therapy is the culmination of over ten years of sonic experimentation, developed across the past three years between Sicily, the United Kingdom, and Brooklyn. It builds on the foundation of the 2021 Dub-Stuy single Pon Pause featuring Al Campbell, whose success became the catalyst for the album’s eight tracks.

Conceived across two distinct halves, the album reflects the dual nature of D-Operation Drop’s sound, moving from one drop and roots/steppers traditions into more modern, forward-leaning bass music. The whole is intended to move the listener between foundation and progression, day and night, light and dark, a dynamic reflected in both the music and album artwork.

Sound Therapy also reflects the collaborative nature of sound system culture, featuring vocalists Blakkamoore and JonnyGo Figure (US), Galas and Marina P (Italy), and Rider Shafique (UK), alongside instrumental contributions from Brooklyn-based saxophonist Troy Mobius. The album was collaboratively mixed in person with McPullish (US) and mastered at Star Delta (UK), with a focus on depth, weight, and sound system translation.

Sound Therapy stands as a complete body of work while establishing a broader musical direction for D-Operation Drop, with further singles, mixes, and related projects to follow.

Anthoney J Hart continues to leave an indelible impression on the underground with his latest album as Basic Rhythm, returning to Sneaker Social Club after a string of incendiary EPs to deliver his definitive statement on 8 Bar Techno. The clue's in the name — a deadly fusion of grime sonics strapped to the pummelling locomotion of peak-time techno.

Hart's roots in pirate radio reach back to the 90s, forming a bedrock of uncompromising attitude that has permeated his work ever since. Between his work as Basic Rhythm, East Man and Imaginary Forces he's split the difference between incisive UK club sounds and experimental intention, applying artistic thinking to the physical impulses of grime, techno, D&B, drill and more. It's no wonder his work has been held aloft by labels as respected as Planet Mu, Metalheadz, Future Retro and The Trilogy Tapes.

On 8 Bar Grime Hart stretches out with a potent statement on his vision for club music in 2026. The thrust of the title track's opening 4/4 stomp is quickly interrupted by a none-grimier gun lock and load — an unambiguous thesis for the direction the album is heading in. The pressure stays high for the duration, barrelling through the distorted kicks and rabid wobble breakdowns of 'Weed Killer' before bringing the flawless flow of NyNy into the mix for half step sheller 'Vibez'. Elsewhere Lyrical Strally brings savage bars to 'Clutch' and Eklipse takes it deep and moody on 'Who, You'

In between the vocal spots, Hart maintains the flexibility to bend between styles with poise, edging a touch of UK funky's staggered groove to 'Teutonic' and wreaking havoc with a Drexcyian sound palette on 'More Pricks Than Kicks'. 12 tracks deep and without a moment of respite among them, the first Basic Rhythm album in five years finds Hart operating a peak strength, firing off neck-snapping payloads of ferociously infectious club gear for the more advanced kind of dance.

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

First Word Records proudly present ‘One 4 Detroit’; the third single from Above The Clouds (aka kidkanevil & Magic Manfred), complete with a remix by 14KT.

This 7" vinyl release follows on from last Summer's MF DOOM cover 'Arrow Root', which received strong support from the likes of Japan's DJ Koco and Philadelphia's DJ Jazzy Jeff, and their recent cover of ‘Change’ which was originally by Shadez of Brooklyn, most notably appearing on DJ Premier's 1997 mix album 'New York Reality Check 101.

One of the original First Word roster, UK Producer/DJ and all-round laptop music geek kidkanevil has developed a distinctive and progressive sound over the years, gleefully exploring the beats and bleeps of the electronic music universe to international recognition. Leeds born, sound system bred and raised on a (un)healthy diet of video games and anime, his solo work inhabits the curious space between bass frequencies and otaku culture. But as a devoted teenage backpack rap nerd, somewhere in the back of kid's mind was a lingering desire to reconnect with his first love, hip hop.

Not long after moving to Berlin he joined a studio space in graffiti plastered Kreuzberg, where he met multi instrumentalist wizard Magic Manfred; a disciple of all things boogie, disco, funk and soul. Born and raised in Berlin, and currently a touring musician for many an act, Manfred's musical map joins the dots from piano lessons at four, to starting a band with his teenage friends, leading him to his true calling - the bass - via the club vibrations of his hometown, which introduced him to the world of DJing and production, and a stint studying in the explosive London jazz scene to finalise his Jedi training.

Bonding over their mutual love of '90s hip hop, a friendship and musical kinship developed, coupled with a desire to honour past eras but push things forward, Above The Clouds was born; named after their joint favourite Primo beat, with a touch of irony regarding their basement based studio of a windowless variety.

kidkanevil explains that “after we made a bunch of piano joints it felt like time for a switch up, I had these raw drums looped and Manfred started playing this simple synth line on the Prophet - it kind of happened in an instant. This one was really a case of capture a moment and let it be. It had this cold, industrial bounce to it that really felt ‘Detroit’ somehow, so it became something of a tribute to that sound. Obviously there’s a rich musical history there that’s beyond anything we could encapsulate, but I hope the respect comes across. From Berlin to the D with love!


We felt pretty strongly that if we’re gonna nod to Detroit, we needed a remix from someone who reps there directly. I’ve been a fan of 14KT since the early 2000s beat scene, and as he’d previously released music on First Word, it made perfect sense to approach him. We asked and did he oblige!! I’m very comfortable saying we got schooled! He really blessed us with an amazing remix that brought a life and soul to what was originally a pretty stark beat, we’re super honoured to have this as our first ever remix.


‘U3P1’ (named after a synth preset so we didn’t forget!) is on the flip - this also came about pretty fast. I was thinking Ummah-era Tribe with the drums, and Manfred once again put down this super nice riff and it grew from there. It kinda felt like it needed some trumpet and it's always nice to highlight some of the amazing musicianship lurking beyond the club systems here in Berlin, so we called up Berlin based trumpeter and composer Paolo de Jesus, who blessed us with a beautiful performance and arrangement. And that was that; we hope you enjoy!”

‘One 4 Detroit / U3P1’ is released on limited 7" vinyl & digital platforms, June 12th 2026.


b 02: One For Detroit (14KT Remix) feat. 14KT


b 02: One For Detroit (14KT Remix) feat. 14KT


[b] 02: One For Detroit (14KT Remix) [feat. 14KT]


[b] 02: One For Detroit (14KT Remix) [feat. 14KT]


[b] A2 | One For Detroit (14KT Remix) [feat 14KT]

As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

2026 Repress

Somniac One's fourth EP for PRSPCT XTRM is a love song to hardcore of yore, featuring two nostalgic original tracks and a hellfire remix of Party In My Head anthem 'Kill Everyone' by the one and only Deathmachine.

Somniac One's intense atmospheres and sledgehammer kicks get a euphoric lick on 'The Grand Awokening', a tribute to the millennium hardcore sound this industrial warrior was raised on. 'Hard Synths '92' meanwhile takes cues from even further back down the timeline, marrying early rave stabs and sentiment with Somniac One's thoroughly modern sound design and identifiable signature.

Technically skilled and hard as nails, Deathmachine then breaks the back of Somniac One's much loved 2018 banger 'Kill Everyone', delivering a crossbreed mutant remix that's gonna slay dance floors all over again.

co:clear is blessed to share the latest offering of Leipzig-based artist, tibslc. Like many, we were introduced to her work through those two stunner long-players on Sferic at the turn of the decade. Five years have passed since then and her work continues to mesmerise – a string of accomplished self-releases have nestled themselves amongst contributions to STROOM.tv and SoundSupply_Service, to name but a few.

In the here and now, we are pleased to showcase ‘City of Something’ – 8 fragments of deluxe hi-fi ambient that further dissolves us in digital haze. Traversing through meticulous fragments of sound, tiblsc entices the listener to her synthetic dreamworld with an album of deep, euphonic electronics. Serene moments of singer-songwriting are sprinkled throughout and remind us of the artist’s delicate ability to captivate with her ethereal voice.

Artwork comes courtesy of Berlin-based artist, Margarita Maximova. Strictly limited to 250 copies of 12” wax and via most digital outlets. Out 29th May 2026.

Out on limited edition 12” vinyl & digital, 29th May 2026. Limited to 250 copies.

2026 Repress

In the beginning of the 1970’s, Guinea-Bissau was a country broken up into many ethnic groups and at the heart of a war for independence. By reviving traditional musical genres as Gumbé and singing in guinean Kriol, José Carlos Schwarz & Cobiana Djazz established an immediate affective bond with their audiences. Through its music and politically engaged spirit of the lyrics, the band played a significant role in shaping the social and political consciousness of the masses. As well as influencing local bands like Super Mama Djombo and giving back a deep sense of cultural identity to bissau-guineans.

The explosive birth of Cobiana Djazz brought about other kinds of detonation. Schwarz became involved in urban guerilla activities which resulted in several bombings in the centre of Bissau, leading to his imprisonment and torture. He remained in lockup for a total period of about 2 years, between 1972 and 1974.

The process of decolonisation, in the wake of the Portuguese revolution of 25 April 1974, led to the recognition, during the same year, of the sovereign nation of Guinea-Bissau.

Schwarz, a key figure in the fight for independence, played an important part in the transition to the democratic regime, profiting from his popularity as an artist. Soon, his criticism (underscoring opportunism and irresponsibility in high places) became a thorn in the side of the political elite. Uneasy with the disquieting effects of his work, government officials effectively separated the author from the masses by assigning him to the embassy in Havana.

José Carlos Schwarz met a tragic and untimely death at the age of 27, when his plane crashed on arrival at Cuba's José Martí International Airport, on May 271th 1977.

Hailed by african giants like Orchestra Baobab, Letta Mbulu or Miriam Makeba (with whom he recorded his first and only solo album), “Zé Carlos” and his poetry won a lasting position in the annals of Guinea-Bissau. However, this collection of songs remains relatively unknown outside the country and its diasporas.

We are proud to offer, in close collaboration with the Schwarz family, this first official reissue on vinyl. Remastered and pressed on heavyweight vinyl.

Seit der Veröffentlichung seines von Kritikern hochgelobten Debütalbums 'Come Around and Love Me' im Jahr 2023 hat Jalen Ngonda eine kometenhafte Karriere hingelegt. Der Song 'If You Don’t Want My Love' wurde zum viralen Hit und wurde bis heute 253 Millionen Mal gestreamt. Jalen war in einer Reihe von großen Fernsehsendungen zu Gast, darunter 'The Graham Norton Show', 'The Late Show with Stephen Colbert' und 'Later with Jools Holland'. Er war Support-Act für Thee Sacred Souls auf ihrer US-Tournee und hat als Headliner unzählige Clubkonzerte auf der ganzen Welt ausverkauft. Jetzt, im Jahr 2026, während die Glut seines Debüts noch hell lodert, bereitet sich Jalen Ngonda auf die Veröffentlichung seines mit Spannung erwarteten zweiten Albums 'Doctrine Of Love' vor.
Die harte Arbeit und die unermüdlichen Tourneen nach seinem Debüt haben sein Handwerk gestärkt. Seine Botschaft: 'Die Lehre der Liebe besagt, dass jeder Gedanke und jede Handlung in erster Linie von Mitgefühl für andere geleitet sein sollte, denn Liebe ist der höchste Maßstab für den Wert eines Menschen.' Die Titel des neuen Albums sind aus diesem Credo entstanden. Mit seinem tiefen Wissen und seiner Liebe zum klassischen Soul vermittelt Jalen Ngonda Authentizität in Hülle und Fülle. 'Doctrine Of Love' verbindet Pop-Sensibilität und soulige Melodien mit roher Kraft und Groove und erweitert die orchestralen Arrangements von 'Come Around And Love Me' um bläserreiche und gospelartige Backing Vocals, wodurch ein äußerst stilvolles Beispiel für moderne Soul-Kunst entsteht. Tipp!

This is not a Ben Vida, Booker Stardrum, and Will Epstein record; it’s a Play Time record. That’s a subtle but important distinction, for a couple reasons. One, the sound of Magic Object—a polymetric blend of improv and pulse minimalism for saxophone, drums, and Moog—doesn’t really sound anything like any of their many other ensembles or respective solo projects. And two, it was only while making Magic Object, their debut album, that Play Time realized they were a band at all.

Let’s back up. The roots of the trio date to 2020-21, when Will and then Booker moved to the Hudson Valley, where Ben was already living. The three got into the habit of playing together at Ben’s house, and they soon realized that their hang sessions felt fundamentally different from making music in some falling-down studio in Bushwick. Where those experiences were rushed and cramped, a new sense of time and space now suggested itself. Where once they rat-raced the music, now they relaxed into it.

Early gigs yielded similar revelations. A booking at Tubby’s, the beloved Kingston venue, evolved into a kind of residency. Tubby’s is a small space, fitting around 100 people, with a bar in the front room and a stage in the back. Play Time decided that they didn’t want to play on the stage; they wanted to play in front, among the people in the bar. Rather than hogging the spotlight and overpowering the other voices in the room, they blended with the energy of their surroundings and emerged as a sort of minimalist-jazz-krautrock bar band.

Gradually, they discovered a newfound “elasticity”—Ben’s word—that reshaped the music from inside. “It’s this communal thing,” he says. “It’s vibes. And it’s embedded in the community up here, which feels really vital and nourishing.” They were jamming, but it wasn’t just a free-for-all; they found themselves listening to each other in new ways. “Ben and Booker joke that they’re always playing in different time signatures,” Will says. “We’re all going forward with our own ideas, but we’re open to each others’ as well, and they’re all sort of dancing together.”

“We all have our painterly solo projects,” Will says—where, Booker adds, “we do a lot of studio arranging and thinking and composition that takes shape over a period of time.” Play Time, on the other hand, is all about being in the moment. That spontaneity was key to the process of recording the album. They booked two days in their friend Joey’s studio, a converted wooden barn. “It’s just a live room,” Booker says. “There’s no separation or anything. So we’re all in the space together and it’s got this beautiful, woody sound, and that’s very much the sound of the record.” For two days, they just jammed, for seven or eight hours each day. When it was over, they went through, edited down the portions they liked, and added very judicious overdubs designed to enhance the original recordings without fundamentally altering them, staying true to the spirit of the sessions.

The result is something like a snapshot and a mission statement all rolled into one. “You’re hearing us discover the voice of the band in real time,” Ben says. “We finished those sessions and we were like, ‘Oh, that’s what our band sounds like now.’”

Now, with Magic Object, the rest of us get to find out too.

—

Balmat is a label with a cloudy outline. Jointly shepherded by Albert Salinas and Philip Sherburne, two friends living in Cardedeu, Catalonia, and on the Balearic island of Menorca, Balmat grew out of Lapsus Radio, a weekly show born almost ten years ago. Balmat’s mission is simple: to foster new ideas, expand upon personal obsessions, and put enveloping sounds out into the world.

“Balmat” means “empty” or “void” in Catalan. But quite apart from any negative connotations, we prefer to think of it in terms of possibility: a space waiting to be filled.

Aaron Coyes (PEAKING LIGHTS, LEISURE CONNECTION, NTS) is back with part 2 of this 3 part series under the EXOTIC GARDENS moniker.

This time, the listener finds themselves sauntering into the post-noon hours with a little more grit: Acid synths, distorted phones ringing, some hungover spoken word samples and even the sounds of a Monchichi if you listen closely enough.

But at the heart of it all remains the same backbone that made his 2024 "MORNING DUBS" a surprise hit for Pinchy and Friends: infectiously deep, perfectly produced psychedelic dub
grooves.

Coyes has had a busy year. He released another Exotic Gardens EP on the Emotional Response label, indulging his more distorted, shoe gaze and post punk passions (and sounding much different to his work with P&F). He also worked with fellow P&F artist COYOTE on the "Love Letters" EP. (2025- Is It Balaeric???)

Now that we are 2/3rds into the day, one can only wonder…what will the EVENING bring???

Magnatek / Gepardenmantel marks the return of Fratelli Malibu to La Scimmia Records, six years after their 2020 debut.

This time, the sound digs into different shadows, shifting toward a colder and more obsessive European aesthetic. Andrea De Fazio and Paolo Petrella leave behind the vibes of their first record to dive into the raw pulse of electronics: a mechanical heartbeat that echoes the urgency of radical clubs, built on tight, stripped-back rhythms.
The vinyl version (12" 45rpm) features two extra synth and drum machine tracks at the end of each side, a treat for DJs and producers.

The digital version expands the project with further bonus tracks, including edits by Federico Gallotti and the dub version by Paolo Petrella.

Maria is the debut album from renowned Brazilian electric bassist and composer Moyses Dos Santos. A homecoming for the London-based artist, Moyses’ debut reconnects him with his North-Eastern roots while assembling an international cast of collaborators including legendary Brazilian arranger Arthur Verocai, US trumpet sensation Theo Croker and London-based vocal star Lynda Dawn.

After relocating from Brazil to London in the early 2000s, Moyses dos Santos quickly became one of the capitals’ most in-demand players, sharing stages, studios, and writing credits with best-selling artists including Nile Rodgers, Janelle Monáe, Emile Sandé, Gregory Porter and Omar.

In 2022, Moyses toured with Brazilian jazz-funk legends Azymuth, completing the rhythm section alongside Brazilian drumming master Ivan "Mamão" Conti. "It felt like he was my wise Brazilian grandfather figure." Moyses recalls. "When you spend so many years working internationally, you unconsciously start to leave certain parts of yourself behind. Mamão encouraged me to reconnect with Brazilian music, and that's where this record really began."

Brazil’s North-east, where African, indigenous and European traditions collided and fused most intensely, produced a musical heritage unlike anything else on earth, Moyses dos Santos is a product of this syncretism. On Maria, named after his mother, Moyses brings the musical vocabularies of his youth to the fore. From the soul of the church band where he began to learn his trade as a musician, to the rolling batucadas – maractus, baiaos, sambas and frevos – which he played throughout his teenage years.

Drawing on the lineage of North American electric bass giants like George Duke, Jaco Pastorius, and Stanley Clarke, Moyses runs Brazilian musical traditions through jazz, funk, soul and disco: his sound charged with the cosmopolitan energy of London's contemporary jazz scene.

Lead single and album opener “Boa Viagem’ is joyous, carnivalesque dancefloor jazz: a timeless groove for the nightclub and street party alike. Calling directly to a higher power “Brazilian Spirit” is an astral-jazz phenomenon, featuring the transcendent trumpet playing of Grammy nominated Theo Croker. On “Saudade” Moyses calls upon iconic Brazilian maestro Arthur Verocai, whose signature string arrangements cascade around the divine vocals of ascendant London artist Lynda Dawn.

With impeccable style, charisma, warmth and virtuosity, Moyses steps forward with his stunning debut Maria: out on vinyl, LP, CD and digitally on the 12th June 2026.

Melodic Techno 2026 ist der eindrucksvolle Nachfolger der erfolgreichen Melodic Techno 2025 und präsentiert eine exklusive Auswahl moderner, melodischer Clubsounds. Gemixt von Seriös & Legendär sowie Little Duracell, verbindet die Compilation atmosphärische Klangwelten, treibende Beats und emotionale Peak-Time-Momente zu einem stimmigen Hörerlebnis.

Die abwechslungsreiche Track-Zusammenstellung vereint starke Originale und hochkarätige Remixe von etablierten Szenegrößen und spannenden Artists der aktuellen MelodicTechno-Szene. Zu den bekanntesten Namen dieser Ausgabe zählen unter anderem Resistance D, Alexander Bollinger, Klartraum und No Hopes.

Mit ihrer Mischung aus bekannten Artists, modernen RemixVersionen und zeitgemäßen Me

Label text:

"Conrad Pack returns to SELN Recordings with a three track EP threading the needle between London sonics and
something beyond.

The primary tracks Praise and Guidance were recorded during the height of the Scram events organised by
Leeway (Guy Gormley), and hosted by the late soundsystem luminary Julian Fairshare at Ormside Projects. The
influence of this period, and in particular of Fairshare himself, on the music is clear; both are stepper-esq, leaning
heavily on London’s musical legacy past and present, whilst still pushing a contemporary sound.

Praise is essentially a Dub track. The percussion and bass are of a familiar steppers nature, with the synths
evoking a true Big Smoke feeling. Although the melody itself wouldn’t sound out of place in a UK Drill number, the
song overall still touches on Industrial and DIY sonics, being all the stronger for doing so.

Guidance follows in solid form. Amongst the driving percussion and staunch bassline, droning pads lock in a dense
mood whilst sparse choral melodies echo throughout. Think Shaka meets Muslimgauze, but recorded in a
Woolwich Office Block.

Grotto was originally produced for the group show “The Grotto” held in January 2021 at Ridley Road Project Space.
Restructuring the track from the original stems, Pack presents a new and enchanted “stereo version” for Praise EP.
Angelic atmospheres flow amongst scattered hi-hats as sporadic Freetekno Kicks reverberate across the void.
Most accurately described as “what Curley in a K Hole might have sounded like”. "

Zum 80. Geburtstag von Fancy erscheint 2026 ein ganz besonderes Highlight für alle Fans: die „80th Birthday Fan Box“. Anlässlich dieses außergewöhnlichen Jubiläums veröffentlicht ZYX Music eine streng limitierte Sammlerbox, die die größten Momente der Karriere des Kultstars vereint.

Die exklusive Fan Box enthält eine hochwertige Auswahl aus CDs, Maxi-Singles und LPs und bietet damit ein einzigartiges Musikerlebnis für Liebhaber des legendären 80er-Sounds.

Mit seinen internationalen Hits und seinem unverwechselbaren Stil prägte Fancy die Disco- und Synthpop-Ära wie kaum ein anderer Künstler.

Die „80th Birthday Fan Box“ ist ein echtes Sammlerstück und ein absolutes Must-have für die große Fancy-Fangemeinde.

Eine nostalgische Reise durch Jahrzehnte voller Kult-Hits – liebevoll zusammengestellt für treue Fans und Musikliebhaber

Globally adored Spanish techno protagonist Indira Paganotto releases her debut album 'Arte Como Amante' via ARTCORE / PIAS Électronique. It brings together thirteen fearless tracks that stretch way beyond any one genre. It's high-pressure, high-energy, and deeply personal. A full-spectrum dive into the world of one of electronic music's most dynamic artists.

It follows a huge 2025. She debuted at Coachella. Played her first ever b2bs with Armin van Buuren at Sonar and Sara Landry at EXIT. She became the first woman to close Monegros. She held down her first Club Room residency at Hï Ibiza for 14 weeks, and even launched her own creative studio space, ARTOPIA, in Santa Eulalia. Her label ARTCORE the home of this special album also took their presence in the dance world to the next level with their own curated stages at Tomorrowland, Mysteryland and Dreambeach.

Now, she's telling her story. The title 'Arte Como Amante' means 'art as a lover'. For Indira, that's not just a phrase. It's her life. This album has been 14 years in the making. It began in Madrid in 2012, when she was 19, and was completed in 2024. She waited for the right moment. She lived life. She collected experiences. She built the sound. "I know to take 14 years to make an album seems crazy," she says, "but without living those experiences, how could I have made the music about them?"

The result is a diverse, adrenaline-fuelled body of work that hits hard and moves deep.

Since the release of DAMAGED in 2024, Michael Fiedler aka GHOST DUBS has been surfing intensifying waves of adulation, earning praise from such diverse underground legends as Justin Broadrick (Godflesh/Jesu), Regis, Stefan Betke (Pole) and Steve Von Till (Neurosis). With second album Oblique, his mastery of sculpting sound waves results in a spellbinding set of alien soundscapes: larger in scale, richer in tone and considerably more cinematic than its predecessor. Lower, deeper and moodier, its cloudy abstractions, shadowy pulsations and submerged rhythms find Fiedler reaching further into his own sonic void, crafting blurred melodies and addictive narco loops into something simultaneously heavyweight and hypnotic.

Lead single and album opener “Low Times” sets the atmospheric pressure to maximum, resembling a dream date between prime dirt-house era Andy Stott and Berlin dub-tech pioneers Basic Channel. From there, Oblique descends into a series of enchanting mood scenes: the furtive, balletic gyrations of “After All”, the haunting ambience and buried heartbeat throb of “Soft Collapse”, and the noirish atmospherics of “Blackout Dust”, which worms its way into the mind like some forgotten David Lynch scene. The spirit of reggae is more distanced here than on DAMAGED, but the ghost of Jamaican dub still permeates these foggy soundscapes, particularly on “Bombed Suburbs”, where Augustus Pablo-style melodicism is chopped, screwed and slowed into a magnetic lock groove.

Superficially minimal but maximal in its minute detail, Oblique is a record of contorted reflections, mesmeric echoes and tantalising audio mirages. By the vaporous mist of closing track “Almost a Structure”, obvious rhythm has been craftily filtered away, leaving a blurred and blunted residue full of mystery and implied narrative. Dense in the best possible sense and crushing when played loud yet equally potent played quiet, Oblique imagines dub techno burning its own rigid rulebook: sensual, funky and concussive rather than dry or alienating. Following Fiedler’s recent work scoring Sound of Falling, recognised at Cannes in 2025, Oblique finds Ghost Dubs shedding his influences and making it clear he has arrived at a sound entirely his own — essential deep listening and a bewitching dose of future shock.

Music On Vinyl celebrate their 100th 12" release by releasing a classic!

Greece 2000 is a classic international house tune by Dutch progressive trance duo Three Drives. It peaked at number 12 in the United Kingdom and number one on the UK Dance chart.

The original 1997 extended mix defined an era with its hypnotic melody, warm groove, and Balearic vibes.

Vintage Culture deliver a deep, melodic, and emotionally charged club weapon. The Max Styler rework elevates the original theme into a 2026 peak‑time banger. KREAM brings their signature big room future‑progressive sound. The Sebastian Davidson & Melosense remix is a warm, organic, and melodic downtempo mix.

This release celebrates nearly three decades of dance music history.

Anyone who has had the sheer pleasure of seeing and hearing Leroy Burgess perform in concert will know just how amazing the live renditions of his iconic compositions of Disco Boogie hits and classics sound with a full band and a fully fueled audience. Accompanied by the ten piece French band and long time Leroy Burgess collaborative outfit Saving Coco, BBE Music is releasing live versions of two of those classics Let’s Do It and Big Time. Recorded and released by Rick James in 1980 Big Time is an absolute killer of a track that sounds so fresh decades later in this crowd energising performance. Famously released by Convertion Let’s Do It was a huge club hit in the early 1980s and is the perfect track to accompany Big Time on this release. Leroy Burgess is a certifiably genuine legend of Black music; his compositions have moved dancefloors across the world since the early 1970s as a member of Black Ivory, then Convertion, Paradise Garage favourites LOGG, Kleer and electro outfit Aleem. His collaborations with Patrick Adams, Inner Life, Dazzle and solo artists such as Eddie Kendricks, Rick James and Fonda Rae have cemented Leroy Burgess’ place in the annals of Black Music History. As a founder-member of the Universal Robot Band he co-wrote the massive perennial favourite Barely Breaking Even. Leroy Burgess feat. Saving Coco-Big Time/Let’s Do It is released as a 12″ vinyl and digital download and definitely belongs in the ‘make sure you get this’ category. Mixed by Marc Mac and mastered at the Grammy-nominated Carvery Studio by Frank Merritt. Available as 12″ vinyl and digital download. Release date September 25th, 2026

2026 Repress!

With recent releases for some of the scene’s leading labels, Fideles (aka Daniele Aprile and Mario Roberti) are an Italian duo on the rise. Their spellbinding ‘Impressum’ EP is both a fine example of the Fideles sound and exactly in keeping with the direction Tale Of Us are steering their Afterlife label. Inspired by the Ionian sea in Southern Italy, low-pitched basslines and soaring synths give the tracks just the right amount of drama, whilst the rich sound-design allows them to make the most of a big system; something Tale Of Us have put to great use in their sets this year. Take the emotionally-charged title track, the rolling, mechanical drums of ‘Kalotypse’ or the more restrained ‘Hadar’. Across all five tracks Fideles’ character shines through the adventurous melodies and distinctive touch, creating an inspiring next episode of the Afterlife catalogue.

To celebrate the Ellis Dee Month we have repressed Ellis Dee Project Part Two for the first time since 2019. This time on yellow vinyl. The original 1992 self-released version by Roy was a one sided affair, so back in 2019 he revisited the classic and remixed it, which is what is on the flipside. We also had the A-Side remastered by Dapz and recut by Beau for 2026 - so thats sounding even better than before!

2026 Repress

DJ Support: Louie Vega, Ralf Gum, Jihad Muhammad, Zepherin Saint, Mr. V, Doug Gomez DjPope, DJ Beloved & Brutha Basil to name a few.

Sean McCabe’s Good Vibrations Music label opens the vault doors for a peek inside some of its closely guarded & much-loved releases courtesy of this special limited edition 12 inch. Featuring 4 new to vinyl releases & including a raft of luminary names from across the soulful spectrum this is sure to be a be a hot fave with long standing fans of the label.

Glenn Underground’s Jazz-Funk fuelled rework of 'This Place' kicks things off and needs no introduction… heavily supported & much loved through the soulful circles & beyond with the likes of Louie Vega, Dave Lee, Jimpster, Jamie 3:26 & Fred Everything (to name a few!) all loudly banging the drum – people have been clamouring for this to be on vinyl. You spoke, we listened!

Up next is 'Modulate', a collaborative force of the highest order between Sean & long-time friend Black Sonix. Expertly fuzzying the lines across Deep, Soulful & House is somewhat of a speciality for the duo respectively and there’s bags of all 3 intertwined throughout alongside a hefty sprinkling of sun-kissed, Latino-inspired pianos.

'Still Standing Here' kicks things off on the B-side and begin in March 2022 as vocalist Madeeha recorded an accapella vocal idea in a phone voice message, quietly singing into her phone to avoid waking the neighbours. She sent the idea to drum & bass producer from Bristol, DJ Mixjah, who then approached friend Sean McCabe with the idea. Together they produced a hypnotic afro-tinged soulful backing track to fit with the voice message, with an intention to re-record it in a studio environment. Sean and Mixjah soon realised that the music they had created blended perfectly with the sincerity, intimacy & rawness of Madeeha's heartfelt performance in the original voice message and decided to stick with it. A firm fave for Atjazz, Crackazat , DJ Spen & Emmaculate.

Wrapping things up is 'You Don’t Know', a slick & energetic dancefloor bubbler from London based producer/DJ ‘David Bailey’ and Canadian soulful songstress ‘MissFly’. David Bailey is a firm favourite amongst the London house music community. He’s produced standout releases on labels such as Idris Elba's 7wallace, Makin Moves, Good Vibrations Music, Rhemi Music & Unquantize. MissFly is known for her soulful serenades and ability to write songs 'on the fly' in the studio. She has carved out an impressive discography on soulful house nuggets such as '1972,' 'Wanna Love You' and 'Thankful'

2026 Repress

Pioneering NYC house label Nu Groove Records is proud to unveil a four-track EP of originals from fellow NYC house legend Jovonn.

After nearly three decades without a release, the cult house label relaunched in 2021 spearheaded by none other than Jovonn with ‘Random / Get Over It’. Following his ‘Funn Houze EP’ released earlier in 2023, the Brooklyn native is back with his ‘Blaque Katt EP’, a masterful display of innate musicality combined with an affinity for roaring '90s-inspired club music.

For the lead, ‘The Piano Fix’, Jovonn creates a dichotomy between the delicate nature instrument and the heavy, sweaty feel of the dancefloor. This is followed by a harder pianistic technique in both ‘The Piano Fix Returns’ and ‘Let Me Tell You Somethin’, showcasing the producer’s flair for harmony and melody.

Closing the immersive collection is ‘Drop That Traxx’, a playful track featuring addictive, syncopated hooks over a pounding four-on-the-floor beat. Throughout the EP, Jovonn displays his talent for gritty, hard music made with tender care.

2026 Repress

2026 Repress

Two stone cold classics right here from the Roy Ayers masterminded RAMP, taken from the holy grail album Come Into Knowledge. Sampled the world over, influentially positive and as prized as they get, South Street’s new sub-label South Street Soul couldn’t have picked a more perfect double header to reissue as their inaugural release.

Although the RAMP acronym Roy Ayers Music Productions bared Ayers’ name, he did not perform with the Ohio band instead writing, arranging and producing the tracks alongside Edwin Birdsong and also William Allen. Drafting in some of the best session musicians in the game, from vocalists Sibel Thrasher and Sharon Matthews, The Spinners drummer John Manuel, guitarist Landy Shores and Cincinnati bass maestro Nate White, the result was pure ethereal excellence.

Rare groove at its finest ‘Daylight’ is one of the standout cuts from RAMP’s only album - soulful, sumptuous and laced with a celestial touch that takes this track to another realm of conscious. A track that was famously sampled by A Tribe Called Quest for their hit ‘Bonita Applebum’ and J Dilla’s remix of Common – Come Close.

On the B side, a Roy Ayer’s masterpiece 'Everybody Loves The Sunshine' given the RAMP revamp, an end of the night masterpiece, a hazed-out dreamer - just downright blissful grooves from start to finish. Ready-made to ride out into the sunset with.