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Old Skool Hip Hop, Electro & Funk compilation.

Old Skool Hip Hop, Electro & Funk compilation.

Concert recorded on March 28, 1960 at the Apollo Theater in Düsseldorf, which had been converted into a television studio by German radio for broadcast on TV. Originally planned as a performance by the Miles Davis Quintet + Guests, Miles Davis ultimately chose not to take part in the recording, leaving Coltrane to take the lead.

First time on Vinyl.
Remastered Vinyl by Dominique Blanc-Francard

For their second full-length album, Under My Umbrella, Miss Grit has lifted the lid on their internal world, lasering in on the anxieties and heartbreak of the past two years, following their acclaimed debut Follow the Cyborg.

On this album, Margaret Sohn – aka Miss Grit (they/she) – channels the noirish atmosphere of classic trip-hop bands, while adding a hefty dose of maximalism and a dream-pop sensibility. The title is a nod to the iconic Rihanna song and embraces Sohn “…letting people in more on this record and trying not to shy away from that. I’m leaving the cyborg behind, I’m letting it all out.”

This record started to take shape when Sohn returned from an intense touring schedule where they’d driven themself around North America totally alone. When they returned home, Sohn found themselves yearning to capture that specific, less restrained energy of playing live.

Under My Umbrella not only presents Sohn’s gift for complex production, but also the boldness of finding your voice, and ultimately is about coming to terms with yourself, your imperfections, and your complex interior world.

Molécule is a French artist, musician and sound explorer whose radical approach consists in going on expeditions to record nature in situ and transforming these raw materials into music.

On board a fishing trawler in the Atlantic Ocean, he created 60°43' Nord using the brutal sounds of a raging sea and the daily life of sailors. In Greenland, he composed -22.7°C deep within the ice pack, capturing silence, polar winds and the cracking of the ice itself. In Nazaré, he immersed himself in the world of giant waves, translating the ocean's raw energy into sound.
Positioned at the crossroads of technology, environmental concerns and sonic creation, Molécule embraces an innovative and committed artistic vision. Constantly pushing technical boundaries, he designs and experiments with advanced recording and production systems to expand the possibilities of sound capture.
At a time when many artists are shaped by standardized formats, Molécule stands apart through an authentic, immersive practice rooted in real-life experience. His work is built directly in contact with the elements and the places he inhabits, resulting in a singular body of work shaped by the physical reality of the world. This project presents a selection of studio productions developed in parallel with Molécule's soundfield recording expeditions. Here, he unveils five unreleased tracks, revealing his techno DNA in its most rough and raw form.
Designed for the dancefloor, these high-impact productions feature sharp BPMs and stripped-back energy, released on Lumière Noire, the label founded by Chloé.

Jeff Cascaro's previous albums have already highlighted the jazzy side of his sound. With his latest record, ‘Broadway and Beyond,’ the artist has now gone one step further. Wonderful, airy grooves allow the singer to shine with the finest vocal nuances. Everything is relaxed and tastefully arranged, the songs have swing and are soulful. Once again, it is his incredibly versatile voice that evokes the atmosphere of the old New York nightclubs. Jeff Cascaro takes us to Broadway and shows us what else there is to marvel at beyond it.

Purple Haze started out in Linköping in 1981. When singer Christer Göransson joined them towards the end of the year, they soon changed their moniker to Genocide (after the Judas Priest song of the same name) and supported local metal heroes Axewitch. A final name change was to follow: In August 1983, the band, now called Mindless Sinner, recorded a four-track demo entitled »Master Of Evil«, consisting of the title track, “Broken Freedom”, “Key Of Fortune” and “Screaming For Mercy”. This attracted Swedish label Fingerprint Records, and they in turn released the NWOBHM-inspired material as a mini-album with an awful cover and getting the band’s name wrong (spelling it Mindless Sinners). By then, the line-up of the band was Anders Karlsson (bass), Magnus Danneblad (guitar), Jerker Edman (guitar), Tommy Johansson (drums) and vocalist Christer Göransson. »Master Of Evil« originally saw the light of day on Fingerprint in January 1984. Christer Göransson takes us back to the early days of Mindless Sinner saying: “We wanted to record an album, but we couldn’t afford the studio cost. We were lucky to win a music contest, and the price money paid for the studio. I remember walking into the studio, and we thought it was like a spaceship in there, with all the buttons and flashing lights everywhere. We recorded the four songs that would become »Master Of Evil«. We then gave the tape to the Axewitch guys, and they played it to their record label at the time Fingerprint/Web Records and they liked it so much that they signed us as well.” Over the years, the music of Mindless Sinner has often been compared to the Tygers Of Pan Tang from England but Christer Göransson doesn’t see too many similarities: “We really love Tygers Of Pan Tang but I don’t think they were a big influence. It was more Judas Priest, Iron Maiden, Saxon, Black Sabbath, Ozzy, Dio etcetera. That kinda stuff.” In addition to the four tracks of the original edition of »Master Of Evil«, the current High Roller Records pressing also contains the five songs of the band’s first demo tape from early 1983 (including “Mindless Sinner”, “Higher And Higher”, “We All Go Back”, “Heavy Metal Will Never Die” and “City Games”). All nine tracks were mastered by Patrick W. Engel at his Temple Of Disharmony in November 2025. Cutting by SST Germany on Neumann machines for maximum quality on all levels ... The ultimate audiophile re-issue of this Swedish metal classic!

Around 1983 it looked as if Tokyo Blade were destined to become the next Iron Maiden. But somehow it wasn’t to be – history was not kind to them! In the end Tokyo Blade never became the next superstars of the glorious New Wave Of British Heavy Metal movement. “Night Of The Blade” was the follow-up to Tokyo Blade's extremely successful self-titled debut album. The band's second record was originally released in 1984 on the English Powerstation label and contained classic Tokyo Blade songs such as “Lightning Strikes”, “Unleash The Beast” or the title track. On the other hand, Tokyo Blade presented some more melodic numbers such as “Someone To Love” or “Rock Me To The Limit”. This slight alteration of the band's musical direction was partly due to the change of the vocalist (Alan Marsh was substituted by Vicki Wright). Guitarist Andy Boulton comments on the differences between Marsh and Wright: “Vic was a different person to Alan, but Alan had been a friend I had known for quite a long time and was a key figure in the band's early success, it was a sad day when we parted ways. Alan was just different from Vic and he had his own distinct sound. I don't want to talk about who was better or whatever, it's for the fans to decide. The material on 'Night Of The Blade' was all brand new, no leftovers from from Killer or Genghis Khan.” Tokyo Blade's debut (1983) and “Night Of The Blade” (1984) are two of the best albums of the entire New Wave Of British Heavy Metal period. “Night Of The Blade” was recorded by Vicki James Wright (vocals), Andy Boulton (guitar), John Wiggins (guitar), Andy Wrighton (bass) and Steve Pierce (drums). High Roller Records is proud to re-issue this long-deleted classic once again on glorious vinyl.

For the last few years Acid Jazz has been the proud custodian of the Albarika Store legacy. Hailing from the small but culturally-significant state of Benin, the label was operational from the late-‘60s until the early ‘80s, and was home to some of the finest, deepest, rawest West African cuts ever. A font of local and regional music, infused with contemporary Western influences, the beating heart of the Albarika sound was the mighty T.P. Orchestre Poly-Rythmo, who in various guises released dozens of recordings for the label, under the leadership of Mêlomé Clément. The intoxicating originality of their sound stems from their combination of folkloric and sacred rhythms of the region, with the modernist sound of soukous, afrobeat, soul and funk. Recorded at EMI Studios in Lagos, these recordings have a unique high fidelity and have been a target for grail-hunting record collectors for decades. For this incredible 2LP collection, Dean Rudland and David Hill compile the Poly-Rythmo 45 releases; 7” single and EP sides lost to the seeds of time. Until now. Brought together for the first time, presented in a beautiful wide spine layout, the 2 LPs present a snapshot of some of the group’s finest work from the ‘70s, their distinctive beat already honed. The printed inner sleeves include images of the rare and collectable original labels and sleeves, along with sleeve notes by Francis Gooding

Havukruunu's RAUTAA JA TULTA reissued in April Svart Records continue to reissue the albums of Havukruunu, bringing their 2016 album RAUTAA JA TULTA back on the market in April 2026. Originally meant as an EP and recorded before the debut album HAVULINNAAN (2015), RAUTAA JA TULTA contains four added tracks from later sessions and was expanded into an album. ”Rautaa ja Tulta (SPIRITUAL RESILIENCE AND VIGOR, THE IRON AND FIRE OF THE SOUL) are the first 6 tracks recorded in 2014 which cemented the recognizable soundscapes of Havukruunu. These furious songs broke the recording equipment at the time, and the remaining four songs were finished in a separate session in 2016”, comments Stefa. RAUTAA JA TULTA is available now on new limited vinyl colours, housed in a single pocket jacket and comes with an insert.

Havukruunu's RAUTAA JA TULTA reissued in April Svart Records continue to reissue the albums of Havukruunu, bringing their 2016 album RAUTAA JA TULTA back on the market in April 2026. Originally meant as an EP and recorded before the debut album HAVULINNAAN (2015), RAUTAA JA TULTA contains four added tracks from later sessions and was expanded into an album. ”Rautaa ja Tulta (SPIRITUAL RESILIENCE AND VIGOR, THE IRON AND FIRE OF THE SOUL) are the first 6 tracks recorded in 2014 which cemented the recognizable soundscapes of Havukruunu. These furious songs broke the recording equipment at the time, and the remaining four songs were finished in a separate session in 2016”, comments Stefa. RAUTAA JA TULTA is available now on new limited vinyl colours, housed in a single pocket jacket and comes with an insert.

Havukruunu's KUU ERKYLÄN YLLÄ reissued in April Svart Records continue to reissue the albums of Havukruunu, bringing their highly sought after 2021 EP KUU ERKYLÄN YLLÄ back on the market in April 2026. Statement from the band: "There has been a lot of rumors and mystery surrounding the album cover art for Kuu Erkylän Yllä EP. Why was the album cover art different on the cassette version and the Vinyl/CD version at the time of release? The most well-known theory is probably that the original cover art was destroyed with an axe, which is why "the blue cover" ended up only on the cassette release and the damaged artwork could no longer be transferred to the CD/Vinyl versions. We completely deny this rumor: "the blue cover" was not destroyed with an axe, but was run over by a car, and we also confirm that "the blue cover" was not even the original cover art. The original cover art has now been found from the archives and the reissue published by Svart has now been made for the first time ever with the cover art that the release was originally intended to have." The Quorthonian homemade assault Kuu Erkylän Yllä contains Havukruunu‘s earliest and, at the time on recording, latest compositions combined, reworked and finished finally to do justice for the original vision of the band. Journey to the pitch-black star-night of Erkylä, where the Night Tower stands ever vigilant under the sign….. Presented for the first time with the original, previously unused album art by Heidi Kosenius, Kuu Erkylän Yllä is available now on new limited vinyl colours and housed in a gatefold sleeve. Kuu Erkylän Yllä was performed during first four full moons of MMXXI by Stefa - Voice, Guitars, Synth Bootleg-Henkka – Guitars Sinisalo - Electric Bass Guitar Kostajainen - 125 INTERCITY EXPRESS

Havukruunu's KUU ERKYLÄN YLLÄ reissued in April Svart Records continue to reissue the albums of Havukruunu, bringing their highly sought after 2021 EP KUU ERKYLÄN YLLÄ back on the market in April 2026. Statement from the band: "There has been a lot of rumors and mystery surrounding the album cover art for Kuu Erkylän Yllä EP. Why was the album cover art different on the cassette version and the Vinyl/CD version at the time of release? The most well-known theory is probably that the original cover art was destroyed with an axe, which is why "the blue cover" ended up only on the cassette release and the damaged artwork could no longer be transferred to the CD/Vinyl versions. We completely deny this rumor: "the blue cover" was not destroyed with an axe, but was run over by a car, and we also confirm that "the blue cover" was not even the original cover art. The original cover art has now been found from the archives and the reissue published by Svart has now been made for the first time ever with the cover art that the release was originally intended to have." The Quorthonian homemade assault Kuu Erkylän Yllä contains Havukruunu‘s earliest and, at the time on recording, latest compositions combined, reworked and finished finally to do justice for the original vision of the band. Journey to the pitch-black star-night of Erkylä, where the Night Tower stands ever vigilant under the sign….. Presented for the first time with the original, previously unused album art by Heidi Kosenius, Kuu Erkylän Yllä is available now on new limited vinyl colours and housed in a gatefold sleeve. Kuu Erkylän Yllä was performed during first four full moons of MMXXI by Stefa - Voice, Guitars, Synth Bootleg-Henkka – Guitars Sinisalo - Electric Bass Guitar Kostajainen - 125 INTERCITY EXPRESS

Nickodemus is a globally respected DJ and producer who has been touring nonstop since the mid-1990s, consistently drawing capacity crowds at clubs and festivals worldwide. As a producer, he has released five acclaimed albums (Soul & Science, A Long Engagement, Endangered Species, Sun People and Moon People) and curated eleven volumes of the influential Turntables on the Hudson compilation series. His work bridges hip-hop, house, jazz, and global sounds, highlighted by collaborations and cultural milestones including the Jungle Brothers' genre-defining legacy and the enduring house-rap classic "I'll House You" with Todd Terry. Nickodemus' hit "Mi Swing Es Tropical" (with Quantic & the Candela All-Stars) has surpassed 50 million streams and featured prominently in the film Chef. He has received extensive international press (Billboard, Rolling Stone, The FADER, Paste) and widespread radio support from tastemakers such as Gilles Peterson, BBC 6 Music, KCRW, and KEXP.


b B1: Monk-One Remix feat. Monk-One


b B1: Monk-One Remix [feat. Monk-One]


[b] B1: Monk-One Remix [feat. Monk-One]


[b] B1 | Monk-One Remix [feat Monk-One]

Brisk is the debut album by Polish-Hungarian flutist Juli Deák (*2000), based in Budapest. Comprised of seven solo flute pieces, the album offers a concentrated snapshot of Deák’s musical world—one shaped by classical training, experimentation, improvisation, and folk influences.

The project began taking shape in 2021, as Deák moved away from the polished ideals of classical performance toward a more personal and exploratory approach. Early fragments only revealed their meaning in front of an audience, whose responses encouraged her to continue developing the material. With over 15 years of musical experience, Deák combines technical precision with a willingness to embrace vulnerability and chance.

Breathing lies at the heart of Brisk. More than a functional necessity, it becomes an expressive and structural force. Through close listening, breath feels tactile and intimate, placing the performer almost within reach. Techniques such as circular breathing, overblowing, harmonics, singing while playing, and wind tones allow the flute to unfold into multiple voices, while percussive key clicks provide a steady rhythmic pulse.

Deák foregrounds sounds often excluded from classical music—breathy tones, unstable pitches, squeaks, and audible inhalations—treating them as essential expressive tools. This focus reflects her long-term exploration of the flute’s physical and expressive limits and connects directly to her ongoing solo practice, The Breathing Project, of which Brisk is a distilled release.

Active across classical, contemporary, jazz, and experimental scenes, Deák has collaborated with ensembles including Konstmusik-systrar and the VENI ensemble, and performed at festivals such as Norbergfestival and Ung Nordisk Musik.

Across its seven pieces, Brisk balances immediacy and rigor, inviting focused listening while remaining open and bodily. It documents a musician in motion, attentive to sound as sensation, gesture, and breath, and committed to honesty

Venturing into “a limbo world between medieval tropes and modern-day decay”, New Orleans musician Urq (half of art punk duo Spllit) returns with a new solo offering. Recorded over a single, intense month, This Dismal Village is a homespun document that sits somewhere between jittery punk, dreary psychedelia, and hooky bedroom pop. Recorded to 4-track, the record embraces limitation as a creative engine, resulting in a sound that is raw, unsettled, and deeply atmospheric.

The album is set not in a fixed point in time or geography, but a liminal environment where dystopic visions and archaic fixtures exist side by side. In the dismal village, kings and witches share space with televisions, skyscrapers, and modern enterprise; organ fanfares echo down streets populated by disgruntled townsfolk and whispered gossip. It is simultaneously the dark ages, 1950s suburbia, and a 21st-century metropolis. Embracing anachronism was central to the project’s identity, an attempt to collapse history into a single, uneasy present.

Sonically and philosophically, the album sits firmly in the tradition of rough and raw cassette rock. Guided By Voices’ Bee Thousand looms large as an influence, particularly its ability to build an entire world through unpolished, first-take recordings. Robert Pollard’s idea of the “four P’s” (psych, punk, prog, and pop) serves as a neat summary of the artist’s musical instincts and each element can be traced right through the heart of This Dismal Village. Further inspiration comes from post-punk’s so-called “Calgary Sound,” a loose movement blending psych pop, post-punk, and math/prog elements with a home-recorded, unpretentious ethos.

The result is an album that unrolls like a place wandered through, uneasy, occasionally familiar, and impossible to pin down in time. All captured on tape before it could disappear like an apparition, like a dream only half-remembered.

Before the 21:30min long odysseys, Grammy nominations, and the sold-out shows across the globe, there was this. Four tracks, recorded in Jönköping, released in November 2015 and immediately celebrated by fans and critics alike.The self-titled debut EP is where it all begins, we meet Sir Hällas - the knight living in a parallel medieval universe where tyrants reign, seers dictate the future, and the world lies on the edge of the apocalypse. Classic heavy rock with psychedelic influences collide with swirling keyboards and twin guitar harmonies, all wrapped around lyrics of tyrants, knights, demons and the end of the world.

This is where the Hällas trilogy takes its first steps. This is where adventure rock was born. Start here.

Dry Socket is a politically charged hardcore band from Portland, Oregon, known for blistering performances and emotionally uncompromising songwriting. Rooted in the raw aggression of classic hardcore, their sound channels the urgency of early Ceremony, G.L.O.S.S., and Negative Approach while carving out a distinctly modern, inclusive space within the genre, one where anger, grief, and survival are not just themes, but lived realities.

Their music confronts systems of violence, coercion, and control with unflinching honesty, creating room to be unapologetically furious, vulnerable, and alive at the same time. Every riff lands like a strike; every lyric feels torn from experience rather than abstraction.

Since forming, Dry Socket has toured extensively across the U.S., Europe, and Mexico, sharing stages with Gorilla Biscuits, The Hope Conspiracy, Torso, and more.

Their latest record, Self Defense Techniques, centers on survival under constant pressure. Inspired by the practice of dehorning rhinos to protect them from poachers, removing a vital part of the animal in order to keep it alive, the album examines the compromises people are forced to make to endure a hostile world. Horns are tools for protection, communication, care, and identity. To survive, so many of us are taught to remove our own.

Across the record, Dry Socket interrogates life inside systems that demand silence, obedience, and self-erasure. Songs wrestle with exhaustion, spiritual betrayal, and economic violence, oscillating between fury and grief. Self Defense Techniques isn’t about triumph, it’s about endurance, documenting the cost of staying alive while refusing the lie that softness is weakness or that silence is peace

We here at TSTD are longtime fans of UK producer/musician/Label maker MATT HUGHES. For a few years he is delivering tasteful, deep, dubbed reworks for Too Slow To Disco, some in Edit form, but also his 2 official remixes for Goodvibes Sound on The Sunset Manifesto 2.
Both new TSTD Edits on this 7 inch are slow disco masterworks, he is giving the originals his trademark deep, warm versions. Who is the guy….?
Matt Hughes is a music producer from the north of England. A purveyor of all things funk, soul, disco, jazz and house! Most recent releases have been with Outcross Records, Bubblegum Pop, Editorial and Too Slow To Disco. A large number of Matt's works have been released under the MAM project with Miguel Campbell remixing the likesof the Climbers, Deadmau5 and Flight Facilities, as well as putting out releases via Wolf+Lamb, Future Classic, Hot Creations, Outcross Records, BPitch Control and Editorial Records to name a few.
Among his most notable collaborations are works with Derrick McKenzie, drummer of Jamiroquai; Drop Out Orchestra, Art Of Tones, amongst others. Each of these collaborations has allowed him to explore new musical dimensions, enriching his characteristic sound with diverse and fresh influences.

With a musical style deeply rooted in disco, funk and jazz, Monsieur Van Pratt combines classical elements with contemporary touches, creating a sound experience that is both nostalgic and innovative. His work not only stands out for its technical quality, but also for its ability to connect emotionally with the listener, making him a central figure in the evolution of modern dance sound.

We’re thrilled to be working with Isaac Carter’s much-lauded Ochi imprint and delighted to kick things off with the debut vinyl release on the London-based label.

This 4-track EP from Isaac Carter & Biyi has been a long time coming. You will no doubt have heard the likes of Ben UFO, Seth Troxler, Floating Points & Moxie to name few, playing these over the past 18 months. By popular demand they are now available for the first time ever, on wax.

WRWTFWW Records releases THE GENTLE PEOPLE - The Peel Sessions, available on vinyl for the first time ever, in conjunction with the worldwide expanded reissue of the group's Soundtracks for Living. Lounge/Chill Out music reborn !

This is an exclusive 4-song EP recorded in 1997 on BBC's Peel Sessions, as The Gentle People were doing the rounds for the release of their legendary debut album. These live versions have never seen the light of day before - a must have for all the gentle fans !
When The Gentle People first glided into the mid-90s on clouds of strings, sugar and sine waves, they sounded like visitors from another, more glamorous planet. Signed to Richard D. James and Grant Wilson-Claridge's cult label Rephlex, this multinational "E-Z-Core" lounge unit took the aesthetics of 50s/60s easy listening and exotica and gently smuggled them into 1990s club culture.

Imagine KLF's Chill Out or Space growing up on French 60/70s pop, bossa nova, soundtracks, vocal harmony groups, library music and easy listening then slipping out for a late-night date with dub, ambient techno and bubble-bath pop. That's The Gentle People : music that can score cocktail hour, 4am taxi rides, and daydreams in headphones with the same effortless grace.

The Gentle People weren't just a curiosity on a weird label; they became unlikely icons of a whole loungecore moment, gracing TV, compilations and magazine spreads, and proving that tenderness could be as futuristic as any drum machine.

Le Futur c’est la drogue, which should here be translated as The Future Is the Drug, is not to be read as a promise, but as a statement of fact. The present is no longer an experience, but pure consumption. Life itself has taken the form of a dependency.

With this sixth album, Christophe Clébard goes straight to the point, driven by a free and repetitive form of writing, stripped of any syntactic rigidity. Words strike like balls against a wall, revealing darker zones of his mind where guilt, fear, and existential anxiety coexist.

The sound composition, equally minimal, sustains a dense and obsessive mental space, a vortex in which trance appears as the only escape. Driving drum machines, relentlessly hammered electronic loops, and a battered synthesizer, his music unfolds within a physical, strangely hypnotic synth-punk aesthetic that hits viscerally.

The Future Is the Drug is his sixth album.

KITCHEN. LABEL is proud to present AGATE, the latest album by Japanese artist MEITEI, marking a deepening of the world he first shaped through his Kofū trilogy released between 2020 - 2023.

Named after the mineral agate, a stone formed through slow accumulation, pressure, and time, the album reflects MEITEI’s patient approach to sound. AGATE brings together extended and newly rearranged works from across the Kofū cycle alongside new compositions and passages, refining material developed through years of performance and sustained practice.

The album presents seven tracks:

HAŌ (Previously unreleased track)
SHIN-OIRAN (Remodeled from Oiran I, Kofū 2020)
SHIN-SADAYAKKO (Remodeled from Sadayakko, Kofū 2020)
SHIN-WAROSOKU (Remodeled from Wa-rōsoku, Kofū III 2023)
KYŪGEKI (Remodeled from Shinobi and Akira Kurosawa, Kofū II 2021)
SHIN-OIRAN II (Remodeled from Oiran II, Kofū 2020)
SHIN-EDOGAWARANPO (Remodeled from Edogawa Ranpo, Kofū III 2023)
Across these works, MEITEI expands the musical vocabulary first introduced in Kofū, a sound he once described as “lost Japanese mood.” While Kofū drew from fragments of folklore, theatre, ghost stories, and forgotten urban memory, it was never an act of historical reconstruction. Rather, it reflected a sensibility of the past observed from the present. With AGATE, this worldview is clarified as Shinpu, a process of discovery in which historical awareness becomes a foundation for contemporary creation rather than a constraint.

During five years of Kofū tours across Japan, Europe, and Asia, MEITEI performed this material in a wide range of spaces, from underground live houses and listening rooms to culturally significant sites. These environments influenced pacing, dynamics, and structure, shaping how the material evolved over time. AGATE is therefore not only a studio album, but the result of material refined through repeated performance.

If the Kofū albums were windows into forgotten eras, AGATE explores what lies beneath, sediment and strata formed through time and pressure. MEITEI’s approach to sound mirrors the nature of agate itself. Grains become texture. Texture becomes narrative. Voices drift through decaying layers of sound, while ancient instruments are used in non-traditional ways, forming distinctive percussive rhythms and melodies that appear and vanish without fixed resolution.

The album’s visual materials were developed under MEITEI’s direction through physical art-making processes. The cover artwork originates from a letterpress print created by Kamisoe, a Karakami atelier in Nishijin, Kyoto, using Kyo-karakami paper. The original artwork, produced through traditional woodblock techniques on handmade washi, was subsequently reproduced on print for the album edition. Kamisoe continues to reinterpret this historical Kyoto craft with a contemporary sensibility.

The title calligraphy was created by Bio Xie, whom MEITEI personally invited to participate in the project. During his performances abroad, MEITEI encountered in Taiwan a lingering atmosphere reminiscent of “Shitsunihon” — a sense of old Japanese memory that quietly endures beyond time. He was deeply drawn to Bio Xie’s distinctive use of Chinese characters, which resonated with this experience, and asked him to contribute to the visual expression of AGATE.

In parallel, MEITEI continues to reinterpret Japanese sensibility through his concept of “Shitsunihon,” presenting it as a contemporary musical language. The refined Kyoto motifs envisioned by Kamisoe and the distinctive calligraphic expression by Bio Xie intersect with MEITEI’s singular artistic direction, weaving together a newly articulated worldview.

The accompanying visual imagery, including the liner photographs, was created by photographer Hiroshi Okamoto, who was also responsible for the visual direction of MEITEI’s previous work, “Sen'nyū.” It draws from MEITEI’s lived experiences of winter seas, solitary cliffs, and breaking waves. These scenes symbolize the inner conflicts of the ten years he spent living in Hiroshima, and his confrontation with solitude and the sounds he creates.

AGATE will be released on 17 April 2025 via KITCHEN. LABEL on 180g vinyl, CD, and digital formats. The album is mastered by Kelly Hibbert, known for his work with Flying Lotus, Madlib, and J Dilla.

With AGATE, MEITEI returns to the material of Kofū with greater focus and discipline, continuing an ongoing process of working forward with inherited material.

Bright morning. To noon and into afternoon. To dusk and the inky night.

A major new exhibition of Mammo’s music spread across a triple disc, twelve track album. Call it a compendium or summary, a network of sparking neurons and painted landscapes in techno.

It folds in all the aspects of his other identities (self-)released over the last few years into an ultimate package ~ Heaven Smile, A∞x, CoA-A, E35, Puddlerunner; really any other project Fabiano has assumed an identity under. It all finds its way into the code and format of Lateral in some way or another.

Here the ground is given for the listener to hear just how much range and individual language there is in the music he’s been making. Fully immersive, inventive and detailed while also elegant and light of touch. It’s quite a package from one of the most talented techno producers right now, gesturing towards different genres and novel ideas in beautiful and intuitive fashion.

Break the pack down for your preferred disc of the day if you like. It’s designed with that modularity in mind. Disc one sparkles with vitality and a buoyancy. The middle disc has more drive and harder bites that you may want to amplify and split out to slot in a DJ bag. Sides five and six move into deeper, dreamier and more emotional techno in twilight. Each one is a little distinct and has its own orbit.

But give it your full attention on the turntable platter too. A listen from beginning to end. There’s lovely dynamics and interplays in the narrative, and its a remarkable new body of work to let your time dilate to.

Mastered and cut by Rashad Becker.

Art by Mammo.Works.

Promised Land is the long-awaited debut album from contemporary showstopper Vintage Culture. Enlisting the help of peers NomBe, Maverick Sabre, The Temper Trap, and Elderbrook, the album marks the producer and DJ's seguing from progressive house to electro, evincing a globetrotting, jetsetting sound that hardly ever fails to hold back on emotion. Including prior single 'Come Come' alongside newer, angelic progressive cuts like 'Weak' with Sabre, this is a stark debut from the Brazilian creative force.

Summer Card, is the debut release on Safe Trip of SDK – a new project by Simone de Kunovich. Refining his sound into a more glossy, dancefloor-driven direction, this summer anthem blends nostalgic, early-2000s chords with a clean, propulsive groove. The release includes a vinyl-only DJ Tool tweak by Young Marco (M’s Freak Mix), pushing things into obscure territories. You have been hearing this one been played out by a select few past year, and now its finally here!

After 90 releases on Future Retro London, I feel like I need to take a bit of a break from the constant workload that's come from running the label on my own. I feel like 50 (the cat number for the main label releases) is a good number to pause on for now.

I've been doing some remixes of the back catalogue & thought that putting them all together on one release at some point would be an interesting concept, so here we are.

Thanks so much to all the supporters, artists, designers & everyone else that's been involved in keeping Future Retro London going for so long, couldn't have done this without each & every one of you.

'Matsuli Music is proud to announce the first vinyl reissue of Philip Tabane’s Sangoma ("Spiritual Healer") since its 1978 release. Remastered from the original tapes with lacquers cut by Frank Merrit and pressed on 180g heavyweight vinyl at Pallas in Germany, this definitive edition re-asserts the power of one of South Africa’s landmark recordings. Featuring new liner notes by cultural critic Kwanele Sosibo and artwork restoration by Siemon Allen, Sangoma returns in full force through an extended Malombo line-up, fronted by Tabane's spellbinding guitar - ancestral, timeless, and unbound.
'Philip Tabane (1934–2018), the mercurial guitar genius of South African music, forged a sound that was as rooted in the spirit world as it was in daily life. With the Malombo Jazzmen of the 1960s, Tabane disrupted Western notions of “jazz,” bringing the resonant rhythm of cowhide malombo drums into the foreground. While outsiders and the uninitiated often reached for labels like “primitive yet sophisticated,” Tabane and his collaborators named it more truthfully: “music of the spirit.”
'By the time of Sangoma, Tabane stood at a crossroads. Fresh from a period of three years’ touring in the United States where he graced the Newport Jazz Festival, and played alongside Miles Davis, Herbie Hancock, Pharoah Sanders and others, he brushed off comparisons with characteristic self-assurance: “No, I don’t play like Miles. Miles plays like me.” Back home in South Africa, and with a newly signed international distribution deal with WEA Records, he harnessed this momentum into a larger band setting, capturing a rare intensity.
'The result was Sangoma—an album that bridges contradictions: expansive yet intimate, celebratory yet haunted by exile and return. Tracks such as “Sangoma,” “Hi Congo,” and “Keya Bereka” are not simply performances but living testaments, songs that would remain in his repertoire for decades. Unlike the moody, immersive character of much of his work, here Tabane is on the move—urgent, restless, uncontainable. As he announces on the second track, “Maskanta wa tsamaya” (“something that kicks ass”).
More than four decades on, Sangoma is both an historical document and a timeless invocation. From his home in Mamelodi to the world and back again, Tabane’s spiritual healing endures—raw, electric, and unbowed.'

‘Since the 16th century, the Ecuadorian province of Esmeraldas has been home to a unique Afro-Indigenous culture originating in the integration of the Indigenous Chachi and Nigua peoples with African Maroon communities. Juyungo documents significant Esmeraldan artists and bands playing the Afro-Ecuadorian folklore of the province, as well as including some older field recordings. Based mostly on the marimba, whose origins lie partly in the African balafon, partly in Indigenous percussion instruments, the music is laced with call and response chants, ambient insect and bird noise, the filigree finger-styles of the Andean guitar tradition and the panpipes of the mountains. This is resonant insider roots music at its headiest — the mystic revelation of Esmeraldas, gully deep and lustral.’
- Francis Gooding, The Wire.


The fifth in our series of LPs compiling classic music from Ecuador. Customary Honest Jons runnings: a beautiful gatefold sleeve; superior pressing, with vivid, intimate sound; full-size, sixteen-page booklet, in colour throughout, with detailed, fascinating, bi-lingual notes, and stunning photographs.

The music is transfixing, magical; not like anything else. From start to finish, this album is continuously, profoundly immersive; a kind of journeying, trippy meditation about slavery and cultural resistance, identity and mix, places and spaces, futures and pasts. It’s inscrutable to net-surfing, algorithms, Shuffle. But for a taste try the insurgent marimba roller Agua Largo, jet-propelled by Rosa Huila’s rapturous blend of African spiritualist and Christian chant. ‘Healing music,’ Zakia called it on Gilles Peterson’s BBC show recently. And the ravishing pasillo Kasilla Shungulla — ‘calm your heart’ in the Quichua language — a duet between the Peruvian master-guitarist Raúl García Zárate and viola da gamba by Juan Luis Restrepo from Medellin, recorded in a baroque church in Buzbanza, Colombia.

'At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.
'In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of… Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

'Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender… Lancaster?) and the evergreen Steve McCall on drums.
'On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music!'

'A few months after recording Us, Lancaster recorded Mother Africa along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.
On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they create an immediate impression. From the first seconds of We The Blessed, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions.
When Gilson’s composition Mother Africa begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking… Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims… The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. We the blessed, is apt listening to this again today!'

The Schagen Electro boss returns with yet another and highly sought after, much overdue re-release of his classic ''Raw!'' 12inch. Remastered by the man himself!

Following the success of the first vinyl release from the Moroccan label Sotor Records, featuring Zadig, Perc & Oscar Mulero, Sotor writes a new chapter in its discography with its second vinyl release. Meaning "lines" in Arabic, Sotor reflects its commitment to championing the diversity of the techno genre.
The label's ninth release, "Processing Range," is a musical ode to the lines of space-time. With four original tracks from the Portuguese producer, Sotor invites you on a techno journey between mental tension and physical release.
The album opens with DJ Dextro's "Controle," which delivers a massive, sharp rhythm, dystopian synths, and a true immersion into a techno black hole.
The journey continues with the second track on side A. This time, DJ Dextro unleashes an uncompromising version of "Blue Dot," achieving a precarious balance while showcasing his signature percussive style. The Portuguese artist delivers the perfect track to unleash a crowd.
On the B-side, DJ Dextro offers us the eponymous track, "Processing Range." We're quickly drawn into an allegory of this decadent modern world where humanity is rushing towards its own destruction. Expect dusty techno rhythms and that sumptuous synth that sounds like the end of times. Probably a future classic!
And you'll finish on a gentler but no less dynamic note from DJ Dextro. He concludes the EP with "31 Atlas," which will leave you weightless with its galloping bassline and abyssal synth.

Repress

The Godfather of Hardcore, Marc Acardipane, needs no introduction. His outstanding releases over the past 30 years speak for themselves. He has been instrumental in helping to create electronic music history, with countless well-known productions which have been unsurpassed by any other artist of this calibre. His timeless masterpieces have been and always will be heard at hardcore raves spanning the circumference of the Planet. With "9 Is A Classic", "Slaves To The Rave", "Pitch-Hiker", "Stereo Murder" and "We Have Arrived", just to name a few, he clearly proves who's the boss. "The Most Famous Unknown" is a well compiled collection of Marc's music, which showcases a mere portion of what he has composed and produced since the early nineties! The vinyl and digital selection of "The Most Famous Unknown" features remixes by Body Sushi a.k.a. VTSS & Randomer, Dasha Rush, Gabber Eleganza feat. Delirio, Jasss, Kilbourne, Minimum Syndicat, Nina Kraviz, Perc, Solid Blake, Stranger, Umwelt and VTSS, which all deliver excellent interpretations of tracks they have chosen to revamp. All original tracks have been re-mastered to the highest possible standard of quality.

With acute focus on dance floor hypnotism and percussive pressure, SIDEB003 offers German collaboration IGLO and Paul Hauck's debut vinyl release. A third project for this duo, 'Stable Fusion' plays to the producers strengths as biting sound design unfolds through reliable groove.

'Stable Fusion' - and, in turn, its title track - presents as an uncompromising dance floor record, complete with pressing arrangements and powerful tension shifts. The infectious nature of club music comes largely from the power and insistence of its minimal elements and IGLO & Paul Hauck put chisel to stone to showcase just that. To add soul to skill, 'Neustadt' claims the A2 with added color and a silver lining in the its mood. Festive chord stabs stutter along with percussion riding up and down the spectrum, maintaining energy without losing impact. Flipping sides, 'Initiator' returns to minimalism and spaced out sequences. Dub chords boom through a low lying swing, complete with unfolding ambient textures. The track is focused and its intentions aren't shy, the slow creep to the EP's conclusion 'Celestis' is met with intrigue. Warbly synth work warms up a pulsating core, creating a more tonal sound system experience than any of its predecessors. Here, ferocity hides behind humility, and 'Celestis' is a crowd pusher with deceptive arrangement to close out 'Stable Fusion' with confirmation of quality and effect.

Words by Noah Hocker

Mutual Rytm spawns new sub-label ‘Versus’ with debut EP from longtime techno associates Regent and Chontane. Continuing to expand its creative world, SHDW’s Mutual Rytm imprint now introduces ‘Versus’ - a new sub- label crafted for creative symbiosis between two artists across one shared release. Opening the series with authority, Regent and Chontane man the debut offering - two close friends and native Berliners who have been shaping techno for more than 15 years. Both long-standing members of the Mutual Rytm family, having released multiple times here before, the pair have always created music informed by life immersed in their local scene. Having both mutually influenced one another over the years, here they present their shared interpretation of techno with individual artistic DNA, forming a unified sound that represents the best of both worlds. Regent goes first, leaning towards functional, anthemic, dance-floor-focused techno. ‘Ephemera’ is tight, minimal but forceful; ‘Slow Burn’ has synth tension rising through the dark, next to glitchy percussion; and ‘Afterglow’ lets in more light, bringing otherworldly synths that hang above the groove and consume your focus. Chontane then explores a more musical and unconventional approach. ‘Plaxaric’ is supple, warm, and deep techno that tunnels into an abyss. ‘Grounding Factor’ is just as economical in design, but with introverted funk and evolving layers of sound. ‘Mental Lab’ spins out into complex rhythms inspired equally by IDM, jungle, and techno. It’s a mental workout as well as a physical one. Both artists add a pair of digital bonus tracks. Regent’s ‘Control Room’ and ‘Rarely Enough’ deliver elevated, hypnotic tools, before Chontane’s ‘Escore’ and ‘Outside In’ bring extroverted drum patterns along with contrasting melodic unease

Neues, viertes, Solo-Album vom dänischen Psych-Rock-Zauberer Uffe Lorenzen aka Lorenzo Woodrose aka... Seit zehn Jahren interpretiert Uffe Lorenzen (bekannt von u.a Baby Woodrose und Spids Nogenhat) auf allen seinen Alben ein altes dänisches Lied. Das gilt für seine drei Soloalben und die beiden Alben seiner aktuellen Rockband Lydsyn. Auf seinem neuen Soloalbum Glemte Spor ("Vergessene Spuren") hat er ein komplettes Album mit 10 Interpretationen von Liedern aus den Jahren 1967 bis 1999 aufgenommen. Einige davon sind dänische Klassiker, andere sind eher unbekannte Lieder, die er sich zu eigen gemacht hat. Viele davon können als Protestsongs betrachtet werden oder haben einen anti-war Charakter. ,Ich habe festgestellt, dass ich die Herausforderung, Songs anderer Leute zu interpretieren und sie zu meinen eigenen zu machen, wirklich mag. Sie zu verändern, zu interpretieren und vielleicht sogar zu verbessern. Viele der Songs werden den meisten Menschen unbekannt sein, während andere dänische Klassiker sind. Was sie gemeinsam haben, ist, dass sie mich irgendwie zu dem gemacht haben, der ich bin", sagt Uffe Lorenzen. Das Album wurde zusammen mit Morten Hart Grabowski in einem kleinen Studio in Kopenhagen aufgenommen. In mehr als 20 Sessions haben sie zusammen eine Liste von 50 Songs auf die zehn reduziert, die schließlich auf dem Album gelandet sind. Laut Lorenzen fanden die Aufnahmen in einer sehr entspannten Atmosphäre statt: ,Wir haben etwas Gras geraucht und Rotwein getrunken, was den Prozess sehr entspannt gemacht hat, und ich glaube, das hört man dem Endergebnis auch an." Später übernahm Flemming Rasmussen den Mix und das Mastering in seinem berühmten Sweet Silence Studio. Glemte Spor erscheint am 24. April bei Bad Afro Records und die erste Auflage ist auf 1000 Exemplare auf schwarzem Vinyl limitiert.

Originally released on vinyl in 2012, H2DAIZZO quickly became one of the NYC duo’s most sought-after records, with original copies fetching over $100 on Discogs. Now widely considered a timeless club essential, this deep, minimal house cut returns via a long-awaited repress on Defected Records.

The release is further elevated by three standout remixes, each bringing a distinct perspective: Peggy Gou delivers a signature 2017 rework, slicing and reshaping the groove with her unmistakable flair; Butch injects his 2018 remix with driving, dancefloor-focused energy; and Josh Baker offers a fresh, contemporary take, rounding out the package with a modern club sensibility.

long content, you may need to expand row to see all... Das Warten hat ein Ende: 18 Jahre nach ihrem letzten gemeinsamen Projekt haben Gnarls Barkley mit ihrem neuen Album Atlanta ihr finales musikalisches Kapitel vorgelegt. Das mit Spannung erwartete Werk von CeeLo Green und Danger Mouse markiert den krönenden Abschluss einer der einflussreichsten Kollaborationen der modernen Musikgeschichte. Mit der Single-Auskopplung „Pictures“ bewies das Duo bereits pünktlich zum Release, dass ihre Chemie aus souligen Gospel-Vocals und vielschichtiger Produktion nichts von ihrer Magie verloren hat. Atlanta ist dabei weit mehr als eine nostalgische Reunion; es ist die Vollendung einer Geschichte, die 2006 mit dem Welthit „Crazy“ begann. Die beiden gebürtigen New Yorker kehren mit diesem Album zu ihren Wurzeln zurück und vereinen erneut Soul, Hip-Hop und Psychedelia zu einem einzigartigen Sound. Für Fans markiert diese Veröffentlichung einen „Full Circle Moment“, der den Geist der Selbsterfahrung und künstlerischen Freiheit feiert, für den Gnarls Barkley seit jeher stehen.