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Eine Hommage an innovative mexikanische Musiker, die elektronische und indigene Instrumente mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik verschmolzen haben Mit 12 visionären Künstlern, darunter Luis Pérez, Arturo Meza, Jorge Reyes, Aristeo und Tribu, um nur einige zu nennen Zusammengestellt und produziert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill Cover-Artwork vom legendären Künstler Eduardo Terrazas sowie Design und Layout von D.Norsen Design Doppel-LP, gepresst bei Optimal, inklusive Booklet mit Liner Notes Audio remastered vom GRAMMYr-nominierten Toningenieur John Baldwin Limitierte Farbvinyl-Edition, gepresst auf violettem und rosa Vinyl //// ,A LA ALTURA" - oder ,To The Height" - würdigt mexikanische Musiker, die sich in den letzten Jahrzehnten des 20. Jahrhunderts mit elektronischen und indigenen Instrumenten auf experimentelles Terrain wagten und dabei im Dialog mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik standen. Über ein Jahrzehnt in Arbeit und liebevoll kuratiert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill, basiert A LA ALTURA auf Originalbändern und Masteraufnahmen mit unveröffentlichten, längst vergriffenen und privat gepressten Aufnahmen. Die Bände 1 & 2 präsentieren 25 visionäre Künstler, die sich aktiv für eine Art Bewusstseinserweiterung einsetzten - sei es durch die Suche nach den Sternen mittels ihrer Musik oder durch die Weiterentwicklung der Kunstform selbst. Ebenso kühn setzen diese beiden Bände ein Zeichen dafür, dass mexikanische Künstler und Komponisten wie Luis Pérez, Arturo Meza, Jorge Reyes, Ana Ruiz und Antonio Zepeda in einem Atemzug mit Michael Rother, Terry Riley, Hiroshi Yoshimura und den vielen anderen Künstlern genannt werden sollten, die zu Recht für ihren Experimentiergeist gefeiert wurden.

Eine Hommage an innovative mexikanische Musiker, die elektronische und indigene Instrumente mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik verschmelzen Mit 13 visionären Künstlern, darunter Ana Ruiz, Oxomaxoma, Gerardo Bátiz, Antonio Zepeda und Airwaves, um nur einige zu nennen Enthält 4 bisher unveröffentlichte Titel Zusammengestellt und produziert vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und dem Creative Producer des LA Phil, Mark ,Frosty" McNeill Covergestaltung vom legendären Künstler Eduardo Terrazas, Design und Layout von D.Norsen Design Doppel-LP, gepresst bei Optimal, inklusive Booklet mit Liner Notes Audio remastert vom GRAMMYr-nominierten Toningenieur John Baldwin Limitierte Farbvinyl-Auflage auf gelbem und blauem Vinyl ///// ,A LA ALTURA" (zu Deutsch: ,Zu den Höhen") würdigt mexikanische Musiker, die sich in den letzten Jahrzehnten des 20. Jahrhunderts mit elektronischen und indigenen Instrumenten auf experimentelles Terrain wagten - im Dialog mit Minimalismus, Ambient, Jazz und New-Age-Ästhetik. Über ein Jahrzehnt in der Entstehung und liebevoll zusammengestellt vom mexikanischen Journalisten, Musiker und DJ Carlos ,Tropicaza" Icaza sowie dem Gründer von dublab radio und Creative Producer des LA Phil, Mark ,Frosty" McNeill, basiert A LA ALTURA auf Originalbändern und Masteraufnahmen mit unveröffentlichten, längst vergriffenen und privat gepressten Aufnahmen. Die Bände 1 und 2 präsentieren 25 visionäre Künstler, die sich aktiv für eine Form der Bewusstseinserweiterung einsetzten - sei es durch das Streben nach den Sternen mittels ihrer Musik oder durch die Weiterentwicklung der Kunstform selbst. Ebenso kühn setzen diese beiden Bände ein Zeichen dafür, dass mexikanische Künstler und Komponisten wie Luis Pérez, Arturo Meza, Jorge Reyes, Ana Ruiz und Antonio Zepeda in einem Atemzug mit Michael Rother, Terry Riley, Hiroshi Yoshimura und den vielen anderen Künstlern genannt werden sollten, die zu Recht für ihren Experimentiergeist gefeiert wurden.

It’s that time of year again! Are your copies of “Now! That’s What I Ca l Christmas” and “A Motown Christmas” finaly feeling worn out? Strut has the ideal antidote this year, as we dive into the world of festive records made by African artists spanning the late 1960s to the 1980s with our new Krismasi: Christmas Sounds From Africa compilation.

Taking in music from across the continent from Nigeria and Ghana to South Africa and Zimbabwe, Krismasi draws from a wide range of sounds from fun novelty records and spur-of-the-moment jams to spiritual and gospel favourites. Featured artists include Ghanian great Kwadwo Donkoh with a meditative highlife praise song from his much-loved Christmas Africana album. Elsewhere, pop star turned pastor, Jerry Boifraind, has some fun with a song celebrating seeing friends at Christmas and Nigerian pop favourite Martha Ulaeto features with the lilting lead track from her own Christmas Africana release. We pick out some choice Central and East African sounds with Kakai Kilonzo’s bri liant Kilimambogo Brothers Band and Congolese legend Baba Gaston’s Orchestra Baba National capturing the joy of the festive season. We stop off in Zim for a rare Dorothy Masuka acoustic piece and one of the country’s great musicians post-independence, Paul “Dr. Love” Matavire with ‘Christmas Yaswedera’ (‘Christmas Is Near’). Township jazz star Reggie Msomi appears with a joyous township instrumental and, fina ly, we couldn’t release a Christmas co lection without some carols. Here we include here a great version of ‘Mary’s Boy Child’ by UK-based Nigerian highlife musician Flash Dominci and a hi-octane funky medley of favourite festive hymns by Ghana’s Oscar Suley.

The compilation is the first in-depth co lection of rare African Christmas recordings, uncovering a rich and often overlooked chapter of the continent's musical history. Krismasi is available on Red & White Inkplosion Vinyl LP and CD. Vinyl restoration is by Colin Young at See Why Audio, mastering is by Frank Merritt at The Carvery, and the album features striking new artwork by Liam Large.

Red w/ black splatter vinyl. Savage Grace return with Underworld, their fourth studio album and first new full-length since 2023's acclaimed Sign of the Cross. Led by founding guitarist Christian Logue and featuring a powerful new lineup of Sebastian Hauser (vocals), Cristian Blade (bass), and Marcus Dotta (drums), Underworld delivers classic high-speed power/speed metal intensity with modern fire.

Es ist ihr drittes Studioalbum und das erste, das bei Fat Wreck Chords erschien. Mit der Verbindung von Punk und Hardcore schufen Strike Anywhere mit Dead FM einen musikalischen Stil, der eine klare Alternative zum Mainstream-Pop-Punk bot und die Underground-Szene des folgenden Jahrzehnts maßgeblich prägte. Das von Brian McTernan produzierte Album hebt sich aus der Masse politisch orientierter Veröffentlichungen hervor, indem es komplexe politische, ökologische und gesellschaftliche Themen mit zutiefst persönlichem Songwriting verknüpft. Damit setzte das Album Maßstäbe für den modernen melodischen Hardcore. "14 break-neck hardcore tracks laden with a passion rarely achieved in modern music. Seriously, this is going to melt your face_ with love." -Fat Wreck Chords 2006 Erstmals seit Erstveröffentlichung reissued, also genau 20 Jahre nicht neu aufgelegt gewesen! Für Fans von The Flatliners, A Wilhem Scream, Rise Against, Avail. Grape Coloured EU Vinyl-LP (Auflage 500), CD noch erhältlich.

Jakob Bro, Brian Blade, Craig Taborn, Chris Cheek, Jesper Zeuthen, Anders Christensen, Larry Grenadier & Marcus Gilmore, playing compositions by Paul Motian and Jakob Bro.
The album was recorded in a single session at New York’s Power Station with engineer James Farber, following a week-long residency at the Village Vanguard.

‘Danish guitarist and composer Jakob Bro is celebrated for his pure reflective expression and penchant for celestial textures, effortlessly distilling and refining quiet sonics. At the Village Vanguard, he leads an impressive group – featuring two bassists and two drummers – for a nearly week-long residency.
‘The perfectly poised, ambient-leaning soundworld that characterizes Bro’s compositions was discomposed and distended by this octet, probing thrilling sounds and providing ample opportunity to create spontaneously. It was an exhilarating jazz night with some of the most esteemed players out there.’ ()

Larry Thompson and Rick Lenoir AKA LNR were early house pioneers who dropped seminal cuts from the late 80s onwards, but few had the impact of their debut, ‘Work It To The Bone’.

The darkly alluring anthem mixed tribal percussion with a minimal groove that went deep and soon became a dance floor classic, spawning a thousand copycats. It has remained an evergreen favourite across the years and now gets covered by New York’s long-time house heavyweight and Grammy-winning producer, remixer and Elements Of Life founder Louie Vega under his Funki Cadets alias. He hooks up with Chicago mainstay Mike Dunn and go-to contemporary house producer Wade Teo for a new version that beefs up the original for modern dance floors.

The opening Louie Vega Mix dials into the original’s tribal energy with a chunky, bouncing groove and hard-hitting percussion, then layers in more synths, effects, and drama to the full-fat sound. It’s a sweaty, steamy affair with a constant sense of momentum as the arrangement evolves, different hooks take the lead, and the pressure stays high. In addition to a DJ Tool Acapella and Louie Vega Beats mix, Wade Teo remixes the track with a deeper groove and dusty drums. It’s a more subtle, heads-down sound but packed with the same edge and rawness that made the original so standout.

Sidney Gish is a songwriter and producer based in Brooklyn, NY. Her first album, Ed Buys Houses, was self-released on Bandcamp in 2016. Her second album, No Dogs Allowed, was released on New Year's Eve in 2017, receiving a 7.7 rating on Pitchfork and winning Album of the Year at the 2018 Boston Music Awards. Gish has toured with artists like Mitski, Cavetown, The Beths, and Jeff Rosenstock. She has a cult following and now a hugely viral song.

Blue System is the studio project founded by Dieter Bohlen after the break-up of the iconic synth-pop/Eurodisco duo Modern Talking. Bohlen, prolific as he is, took care of composing, writing, producing, mixing, arranging, and of course singing, while hiring session musicians for additional voices and instruments. The project ended up producing 13 albums over a span of about 10 years before being retired in favour of Bohlen's many other projects.

Hello America is the seventh album, released in 1992. It contained 11 new tracks all penned by Bohlen, of which "I Will Survive" and "Romeo & Juliet" were released as singles. The album eventually peaked at #29 on the German Albums chart. Now, after almost 25 years, we're reissuing it on vinyl for the first time.

Hello America is available as a limited edition of 2000 individually numbered copies on blue vinyl and includes an insert with lyrics.

X Clan emerged from Brooklyn, New York as one of the most distinctive and politically charged groups of the early 1990s. The original lineup, Anthony “Sugar Shaft” Hardin, Claude “Paradise” Gray, Jason “Brother J” Hunter, and Lumumba “Professor X” Carson, became the driving force behind the Blackwatch movement, a collective that also included artists such as Lin Que aka Isis and Queen Mother Rage.

Renowned for their Afrocentric vision, militant activism, and unmistakable sonic identity, X Clan quickly rose to prominence. Their 1990 debut album To The East, Blackwards sparked both acclaim and controversy, reaching No. 11 on Billboard’s Top R&B/Hip-Hop Albums and No. 97 on the Billboard 200. The record delivered several standout singles, including “Heed The Word Of The Brother” backed with “Raise The Flag”, “Funkin’ Lesson” backed with “Shaft’s Big Score”, “Grand Verbalizer, What Time Is It?”, and the funk-driven, sample-heavy track “Verbal Milk”.

The group’s original formation dissolved in 1995, and tragically, both Sugar Shaft and Professor X passed away later that year.

To The East, Blackwards is now reissued on vinyl for the first time since 1991, honouring one of hip‑hop’s most influential and culturally resonant albums.

Das rare German New Wave-Kultalbum von 1982 neu aufgelegt! Inkl. sagenhafter Versionen von "Psychokiller" (Talking Heads) & "Mongoloid" (Devo) sowie der ERNST-Originale "C2H5OH" & "Autonome Einheit" "Ernst entstand wegen der Talking Heads. Ernst ist keine typische Neue Deutsche Welle Band. Ernst kam nicht aus dem Punk. Ernst war auch kein Spaß-Produkt der Plattenindustrie. Ernst gab eine so eigenwillige wie charmante Antwort auf die Frage, wie New Wave in Deutschland klingen könnte. - Auf dem ersten, einzigen, unbetitelten und nun wieder veröffentlichten Ernst-Album von 1982 finden sich gleich mehrere Coverversionen der Talking Heads - ins Deutsche übersetzt, gesungen von Bassistin Dorle Bausinger. Die New Yorker hatten die Tübinger dazu inspiriert, eine New Wave Combo zu gründen. Auch ihre geniale Version von Devos "Mongoloid" steht dem Original in nichts nach. Die Band verstand sich aber nicht nur darauf, sich coole Musik aus Amerika anzueignen, sondern schrieb selbst sehr gute Songs wie "C2H5OH (Alkohol)" oder "Autonome Einheit". - Also veröffentlichten Ernst ihre Platte kurzerhand im Eigenvertrieb. "Wir schickten ein paar Exemplare ans Radio, und bestückten die Plattenläden in der näheren Umgebung, viel mehr unter-nahmen wir nicht." Beim Tübinger Plattenladen Rimpo waren die Verkaufszahlen so hoch, dass Ernst, das Album, mehrmals Platte des Monats wurde. Die knallblau-roten Cover füllten über Wochen ein ganzes Schaufenster. - Dennoch blieben die Band und ihr außergewöhnliches Album bis heute ein Geheimtipp. Ernst bekam nie die Anerkennung, die er verdient hätte. Zeit, dass sich das ändert." - Ulrich Gutmair (Kulturredakteur taz, Autor u.a. "Wir Sind Die Türken Von Morgen" (2023), "Die ersten Tage von Berlin" (2013)), 2026 aus den Linernotes zur Neuausgabe von ERNSTs "Ernst". Wiederhergestelltes original Artwork! Transparent rotes Vinyl in Glanzlack-Sleeve mit ausführlichen deutschsprachigen Linernotes und Fotos auf 6-seitigem, gefalztem 12"-Insert oder inside-out Digipak-CD (das Format erstmals überhaupt) mit den Linernotes in 28seitigem Booklet. Beide Formate sind in den Erstausgaben streng limitiert auf nur 500 Stück weltweit!

With one foot in the Mexican underground rock scene and the other one in the global tape trading circuit, Las Ánimas del Cuarto Obscuro found themselves in the middle of a crossroad after their first LP. México wasn´t the same country as when the band first started. Even though access to non-commercial music still was a difficult task in the late eighties, the fringes of culture had way more resources thanks to the stubbornness of certain anonymous heroes: dwellers of El Tianguis Cultural del Chopo, niche record stores, illegal underground parties and hosts of late night Mexican public radio shows.


Ubiquitous social unrest expressed itself in every way possible. The aftermaths of the 1985 earthquake weren’t the only matters on the table. Protests erupted after a rigged presidential election and a student strike hit Mexico’s biggest public university. This was just the tip of the iceberg of issues PRI’s perfect dictatorship was or wasn’t addressing. The clash of the authoritarian regime against new and fresh ideas.


If the first record was about the loneliness of self-destructive youth and it’s urban phantasmagories, LACO’s second LP dealt with change as the axis of human existence. Las Ánimas is just the beginning of the sonic metamorphosis Toño Sánchez went through until this very moment.
The departure of former bandmembers set a different approach towards more experimental and atmospheric sounds. As the project’s only member, Toño Sanchez took an alchemical trip aiming for more mysterious horizons.


Despite the fact that we can still find conventional dark pop and catchy songwriting, the record rests on sound landscapes closer to Jorge Reyes or Tuxedomoon and This Heat than the orthodox ways of so called post-punk, seasoned of course with the lack of music gear and the economic reality prevalent in Mexico of those convulsed times.


Las Ánimas is a goodbye letter to underground but not because the next move is the mainstream. Far away from it, it’s a farewell to traditional rock and a the first steps down into the depths. From now on, Toño Sánchez will dedicate his musical efforts to weirder sounds and scarcer audiences in the search of the arcane, possessed by a mania of constant change that infects the soul after crossing the black door’s threshold.

The new L.A.W. is definitly HC oriented !

Mastering is done by Ultramars in a very specific way :
Both Crystal Distortion and Sadistic tunes are playing 45 RPM, even if on the same side the other tunes are playing 33 RPM.

This to enhance the sound for the 45RPM ones...
The extract on the site are made with the vinyl, so you can hear the sound of it.

Enjoy Hardcore ! Enjoy vinyl !

New dope release is coming on Macadam Mambo!

We are very glad to present this masterpiece of contemporary leftfield music by Pieter Kock and Nate Davis under their project ‘Sports Café’. If you liked the previous 2xLP of Pieter (The End ll), you will love this new one pairing with Nate. The 2 buddies deliver the perfect soundtrack for lazy afternoons and kinky listening session: put the record on the turntable, play ON, first pop, the feelings is good, you want to chill, you go in the fridge, you open a can of beer, sit on the sofa, start to roll your cigarette, the guitars (Vini Reilly style) are playing, the acid lines show up, nice melodies are coming, nice synths too, little vocals here and there that can remind some sort of PMU’s cafe rooms vibe (it’s from where the name of the project is coming from)… it’s cool, yeah baby, you enjoy, you feel good!!, the more you listen to it the more you love it… A proper shroomy excursion if you are into the trip. Trust us this album is a must have, big TIP ;)

The annual Bonkers Music compilation is back with another dose of high-energy bangers. For its seventh anniversary, the series takes a fresh step forward, exploring a slightly evolved musical direction while keeping the distinctive sound that defines it. “Year VII” lands on 12” vinyl.

A1 David Meyer & Ludviq – Mandanga 2.0 (Feat Nick Hanzo)

The collaboration between Ludviq and David Meyer strikes a compelling balance between tension and movement. Drawing from underground electronic influences, Mandanga 2.0 evolves through hypnotic layers, acid-driven momentum, and a powerful groove, resulting in a distinctive cut that feels both immersive and uncompromising. Mandanga 2.0 is a dark, hypnotic electronic track built around squelching acid sequences, deep rolling grooves, and haunting vocal elements from Nick Hanzo. Atmospheric textures and a relentless rhythmic drive create a tense, immersive journey through shadowy soundscapes, blending raw energy with a refined sense of space.

A2 Neskeh – Liquid Sky

A raw trip built entirely around samples from Liquid Sky, Neskeh’s one of all-time favorite films. Crunchy saturated highs, basement-shaking low end, heroin-soaked wonky vocals, and freaky alien leads drifting through the mix. A warped tribute to an iconic soundtrack. Welcome to the space trippy club

A3 Your Reference – Afterparty

Julia Konor aka “Your Reference” one of the hidden gems of Barcelona’s underground scene, lands for the first time on the label with “Afterparty”
”Afterparty” draws inspiration from abandoned industrial spaces, empty warehouses, and nights where the only thing that mattered was the music. No rules, no expectations. Just raw energy, dusty air, concrete, and people completely immersed in the moment. The track is a personal postcard from that world.

B1 Lebollet & Mar Bravo – Aleta

“Aleta” is one of those Colombian words that somehow made its way into our shared language. We use it for raw, intense, dark tracks. Hard to translate. Makes sense when you feel it.

B2 Funboys – Skin In The Game

“Against the persistent ebb and flow of a breaking heart’s pulse, echoes of half-faded memories tease your attention… On the edge of forgetting, you can almost remember. And then it hits you – the coalescence of feeling into colour and form, warm in its familiarity, powerful in its simplicity. Uncanny, because it was right there all along. Don’t hold your breath… Listen!”

B3 Milla Campollo – Brote Psicodélico

“Brote Psicodélico” emerges from a hypnotic intersection of acid rhythms, psychedelic textures and raw downtempo energy. The track slowly unfolds through repetition and movement, creating a constantly evolving state between tension and release. Dark, trippy and physical, it is built around a groove that pulls you deeper with every layer. Distorted elements and acidic patterns weave in and out of the rhythm, giving the track an organic yet alien character. A journey designed for listening, less about following a linear narrative and more about entering a state of mind, where the boundaries between rhythm, body and psychedelia begin to blur.

Cécille Summer 2026 Compilation
Summer and Cécille have always gone hand in hand.

For 2026, we’re back with another carefully selected collection of records that perfectly capture where house music feels today. Eleven tracks from artists we’ve admired for years, longtime friends of the label, exciting
newcomers, and fresh faces joining the Cécille family for the very first time.

Piem opens the journey with his long-awaited Cécille debut. A respected name in the scene for many years, his unmistakable groove has been on our radar for a long time, and we’re proud to finally welcome him to the label with Give Me The Rhythm.

Leon returns to where it all began. Since his very first Cécille release back in 2009, he’s been an important part of the label’s story. Let Bass Kick is classic Leon—timeless, understated and effortlessly effective.

UK duo Late Replies continue their incredible rise with Moment 4 U. Their fresh take on house music has been impossible to ignore, and we’re thrilled to have them on this year’s compilation.

Dutch mainstay Jesse Maas delivers Voices In My Head, another classy slice of groove from one of the most consistent names in the Netherlands’ house scene.

Buenos Aires’ Manu Desrets impressed us so much that one track simply wasn’t enough. His two contributions, Get GG and Voy No Kako, showcase two different shades of his sound and perfectly reflect why he’s become
one of the most exciting producers coming out of Argentina.

Andrew Azara has become a true part of the Cécille family over the years. This time he teams up with Traumer, who makes his label debut with a beautifully understated deep house record. Need You is one of those tracks
that quietly sticks with you.

We’re also excited to welcome Jay de Lys to the family. Together with Simon Kidzoo and Monölitio, the trio delivers Into The Light—a warm, feel-good house record that instantly became one of our favourites. Three
artists from Argentina, the Netherlands and Barcelona coming together exactly the way house music should.

After turning heads on last year’s Costa compilation, Brazil’s Classmatic returns alongside fellow Florianópolis producer Marian. Brazilian Madness is exactly what you’d expect: infectious groove, irresistible swing and that
unmistakable Brazilian sense of rhythm.

One of the hottest young names coming out of the Netherlands right now, Stefan Meser delivers Don’t Hesitate—one of those records that gets stuck in your head after the very first listen.

Closing the compilation is someone who’s been part of the Cécille story since the very beginning. Christian Burkhardt has been a longtime friend of the label and one of Frankfurt’s finest. Specialo lived in our vault for almost two years while we waited for the right moment to release it. This felt like the perfect place for it, and the perfect way to close another Cécille summer.

Eleven tunes. Eleven different stories. One soundtrack for Summer 2026. Welcome to the next chapter of Cécille.

10 years since his first edits outing on RNT, label co-founder JKriv digs into his deep well of reworks for a four-tracker of cheeky dancefloor madness. Coming in hot on the A side, I Feel Amor is modern twist on the disco classic anthem, a peak time weapon of epic proportions with hard-hitting beats and churning synths, and the inimitable sing-along vocal (pero en Español). Love Dub is a stripped down deep house affair, a solid driving groove with thunderous bass, synth accents and acapella flourishes. On the B-side, Cuando Bailo is the edit you didn’t know you needed; a callback to a bygone era of one-hit wonder magic, flipped masterfully to be all-club and just a sprinkle of camp. And rounding off the record Dance Sexy takes an obscure purple-hued cover into hypnotic red-light territory, with funky synth stabs riding a pulsing and infectious bass line, in classic JKriv fashion.

Swooped Records would like to introduce our limited series of vinyl only edits We love many of the edit labels with 1-2 tracks per release, and we’re going to help you value up with 4 top-shelf cuts on every record! We kick it off with Chainsnatcher “Jump Up In It” Vox that is straight up, dirty, bumping House music! It’s also featured on Derrick Carter’s for The 6 Mix w/ Mary Anne Hobbs on BBC’s flagship BBC Radio 6 Music. Next up Ric Viera of Guided Methods fame teams up with Elrose for “Only Ewe”. This funky House take on an afro-boogie jam will shake the dance floor and keep the discerning heads nodding. The flip side brings us Chainsnatcher “Jump Up On it” Dub. This is for those that want a stripped back version of the Vox with well placed, minimal vocal snippets and that dance floor boogie. Agent 818 rounds it off with “Don’t Let Nobody” and it’s time to get the summer time vibe started pronto! This jam will do the trick whether it’s day party-fun to after-hours strutting, just ask DJ Heather as she’s been playing it for a minute now.

Hope you dig!

Sometimes things go quickly. After meeting Canadian artist Pascale Project early this year (twice in one month) on the same dancefloor of a crusty underground club in Neukolln, we sent this Berlin-based DJ and producer a short appreciation email to show curiosity and interest in her unreleased music. Our hope was to listen to it and maybe just maybe start a record-release project. Pascale sent back quickly, and she shared some fantastic club music with us. We had separate listens to the full playlist, and, funnily/coincidentally, we chose the same 4 tracks as highlights from the big playlist. One week later, Pascale emailed us back, mentioning the tracks she would feel/see/love to be released on the label, and they were the exact same ones we had naturally and unanimously chosen. Stars aligned for sure. Having long been active in the Montreal music scene, Pascale absorbed the essence of all her different experiences and years of training and creating, and then let it all start Sparkling into the 22nd Basic Moves release entitled "Watch EP". The record is based on the concept of losing and breaking things up, and eventually finding it all back. Reflecting hope in between the fog of life. It is clever modern underground club music rooted in the textures and energies of the golden days of progressive house, breakbeats and (real!) tech-house. These 4 tracks reflect an artist who expresses herself honestly, fully understands how to creatively arrange and produce club music, and never loses sight of the dancefloor, as she is often found on that dancefloor herself. Dive in and let us know what you think of it. We are stoked to play out and vibe on these tunes for real!

a A1 Rhiannon 4:11
b A2 Don’t Stop [3:11]
[c] A3 Go Your Own Way [3:38]
[d] A4 Hold Me [3:45]
[e] A5 Everywhere [3:43]
[f] A6 Gypsy [4:25]
[g] A7 As Long As You Follow [4:17]
[h] B1 Say You Love Me [4:10]
[i] B2 Dreams [4:14]
[j] B3 Little Lies [3:38]
[k] B4 Sara [6:22]
[l] B5 Tusk [3:30]
[m] B6 No Questions Asked [4:36]
[n] C1 Landslide [3:19]
[o] C2 Big Love [3:39]
[p] C3 Over My Head [3:35]
[q] C4 Oh Diane [2:39]
[r] C5 You Make Loving Fun [3:32]
[s] D1 The Chain [4:30]
[t] D2 Think About Me [2:44]
[u] D3 Seven Wonders [3:42]
[v] D4 Never Going Back Again [2:14]
[w] D5 Silver Springs (Live) [5:42]

[a] A1 Rhiannon [4:11]
[b] A2 Don’t Stop [3:11]
[c] A3 Go Your Own Way [3:38]
[d] A4 Hold Me [3:45]
[e] A5 Everywhere [3:43]
[f] A6 Gypsy [4:25]
[g] A7 As Long As You Follow [4:17]
[h] B1 Say You Love Me [4:10]
[i] B2 Dreams [4:14]
[j] B3 Little Lies [3:38]
[k] B4 Sara [6:22]
[l] B5 Tusk [3:30]
[m] B6 No Questions Asked [4:36]
[n] C1 Landslide [3:19]
[o] C2 Big Love [3:39]
[p] C3 Over My Head [3:35]
[q] C4 Oh Diane [2:39]
[r] C5 You Make Loving Fun [3:32]
[s] D1 The Chain [4:30]
[t] D2 Think About Me [2:44]
[u] D3 Seven Wonders [3:42]
[v] D4 Never Going Back Again [2:14]
[w] D5 Silver Springs (Live) [5:42]

[a] A1 | Rhiannon [4 11]
[b] A2 | Don’t Stop [3 11]
[c] A3 | Go Your Own Way [3 38]
[d] A4 | Hold Me [3 45]
[e] A5 | Everywhere [3 43]
[f] A6 | Gypsy [4 25]
[g] A7 | As Long As You Follow [4 17]
[h] B1 | Say You Love Me [4 10]
[i] B2 | Dreams [4 14]
[j] B3 | Little Lies [3 38]
[k] B4 | Sara [6 22]
[l] B5 | Tusk [3 30]
[m] B6 | No Questions Asked [4 36]
[n] C1 | Landslide [3 19]
[o] C2 | Big Love [3 39]
[p] C3 | Over My Head [3 35]
[q] C4 | Oh Diane [2 39]
[r] C5 | You Make Loving Fun [3 32]
[s] D1 | The Chain [4 30]
[t] D2 | Think About Me [2 44]
[u] D3 | Seven Wonders [3 42]
[v] D4 | Never Going Back Again [2 14]
[w] D5 | Silver Springs (Live) [5 42]

[a] A1 | Rhiannon [4 11]
[b] A2 | Don’t Stop [3 11]
[c] A3 | Go Your Own Way [3 38]
[d] A4 | Hold Me [3 45]
[e] A5 | Everywhere [3 43]
[f] A6 | Gypsy [4 25]
[g] A7 | As Long As You Follow [4 17]
[h] B1 | Say You Love Me [4 10]
[i] B2 | Dreams [4 14]
[j] B3 | Little Lies [3 38]
[k] B4 | Sara [6 22]
[l] B5 | Tusk [3 30]
[m] B6 | No Questions Asked [4 36]
[n] C1 | Landslide [3 19]
[o] C2 | Big Love [3 39]
[p] C3 | Over My Head [3 35]
[q] C4 | Oh Diane [2 39]
[r] C5 | You Make Loving Fun [3 32]
[s] D1 | The Chain [4 30]
[t] D2 | Think About Me [2 44]
[u] D3 | Seven Wonders [3 42]
[v] D4 | Never Going Back Again [2 14]
[w] D5 | Silver Springs (Live) [5 42]

Often credited as the father of multi-media theatre, Alwin Nikolais (1910-1993) took complete creative control over his productions - including cutting-edge approaches to lighting and costume that transformed human bodies into shifting sculptural shapes, while also composing wildly innovative electro-acoustic and synth-based audio as accompaniment.

After initially experimenting with musique concrète and tape manipulation (as demonstrated on the 1959 LP Choreosonic Music of the New Dance Theatre of Alwin Nikolais) Nikolais became the first owner of Robert Moog's synthesizer at the Audio Engineering Society convention in New York in late 1964. Relying heavily on the Moog and later the Synclavier synth/sampler, these 21 tracks document Nikolais' highly-prescient compositions across the mid 1960s through to the late 1980s - existing not only as extensions of his other-worldly choreographic productions, but standalone pieces of foundational mid-century American electronic and experimental music.

"Born in Southington, Connecticut in 1910, Nikolais’s early years and early career were in acting, music and puppetry. It was not until the late 1930s that he began his work as dancer/choreographer in Hartford, Connecticut, where he was commissioned by the Avery Memorial Theatre, a part of the Wadsworth Atheneum, to create an evening-length work to the music of Ernst Krenek. Previously his work and study as a pianist-organist found him accompanying silent films. This sort of accompaniment required from the musician not only a playing skill but also a versatility in improvisation, matching movement to sound, and evoking mood to situation.

Nik was drawn initially to dance by his involvement with the percussion scores used by the illustrious early twentieth century German dancer Mary Wigman. In trying to learn more about percussion, he was lured into dance class and thus his career began. His development of music and dance occurred simultaneously. His introduction to the twelve-tone technique opened his mind to the expanding areas of atonal music, and his dealing with music as sound per se. In 1948, after being appointed director of the Henry Street Playhouse in New York, Nikolais formed the Playhouse Dance Company, later known as the Nikolais Dance Theater, and began his aesthetic orientation toward dance as a study of motion. By the 1950s, he had ceased creating literal dances and began his explorations and eventual milieu as an abstractionist.

Sound became an important part of his abstract theatre. For his first dances, which involved his new thinking of dance as both a visual and kinetic art, he used live percussion scores in which he directed his dancers to play instruments of all nature. There was a combination of children’s toy instruments as well as harsh and resonant automobile brake drums, and other pitched auto parts which he also used to accompany classes. Once he installed his own tape recording machines, he quickly used the limited range these instruments provided in a new way, slowing and increasing speed and reversing sound. He also made the sounds adhere to the choreographic structure (not the other way around), thereby giving the dance its independence from the musical phrasing. But the real need remained: the search for new sound. Nik made a sound library, recording noises and percussion and vocal sounds, which the French aptly called musique concrète. Needless to say, he became a master at splicing bits and pieces.

From 1956 to 1962 Nikolais composed eleven major scores for his theatre pieces using such techniques. In 1963, James Seawright, who at the time was assisting Nik in his productions and also working at the Columbia-Princeton Center for Electronic Music, recorded a sound bank for the production Imago (1963). With this material, Nikolais created his first synthesizer score. Imago won the Paris Grand Prix in 1968 and launched the Nikolais Dance Theatre towards its national and primarily international acclaim.

During the same period, Seawright came to Nik and told him of a young man who had invented and constructed a simplified synthesizer and insisted that Nik visit the electronic fair currently being held in New York. Nik did so and met Robert Moog. He was completely taken by the new machine and after making some suggestions to Moog, (which Moog made), Nik bought the inventor’s first machine with the aid of a Guggenheim Fellowship. Moog himself was astonished by what his machine could produce for Nik. This machine was later acquired by the Museum of Musical Instruments at the University of Michigan at Ann Arbor as the first Moog synthesizer. The Synclavier was Nik’s next source of sound and since the mid-1970s remained the major instrument in the Nikolais soundroom.

Alwin Nikolais has been honored and awarded throughout the world. He has received the French Legion of Honor, the Kennedy Center Honors, National Medal of the Arts, two Guggenheim Fellowships, as well as Mellon, Ford, and Rockefeller grants. He has been a recipient of NEA grants since 1966, been awarded five honorary doctorates, all for his remarkable achievements in Dance Theater. His genius has influenced several generations of artists."
—Murray Louis

Jungle cemented their status as a major global force with their 2023 album ‘Volcano’ - a record that earned them their first BRIT Award and featured their worldwide smash hit single ‘Back On 74’. The trio - J Lloyd, Tom McFarland and Lydia Kitto - return with their eagerly anticipated new album ‘Sunshine’ set for release on August 14th. The album is launched alongside the new single ‘Carry On’, which was premiered as BBC Radio 1’s Hottest Record. Along with the single release and album announcement, Jungle have also confirmed details of their forthcoming global headline tour this autumn, which includes arena shows spanning three continents. 'Sunshine' will be available digitally and across a range of physical formats: standard black vinyl, 'desert peach' vinyl, translucent brown marble vinyl — all as single gatefold LPs — plus a digipak CD.

This release is a homage to the Turbo label.

Turbo was a part of Joe Robinson and Sylvia Robinson’s All-Platinum Records set up in New Jersey which operated from 1967 to 1979. At one stage the fiercely independent and proudly black owned label threatened to become another Motown or Philadelphia International. That never happened, but the Robinson’s dream of worldwide success came later when Sylvia discovered Rap, recorded Rappers Delight by The Sugarhill Gang and Sugar Hill records was born.

Music historian Steve Guarnori describes All Platinum as "probably the most unusual record company there ever was. Dysfunctional, but at the same time wonderful."

The All-Platinum chaos extended to Turbo. But despite anarchy - some superb albums went straight from manufacture to be deleted and sold as cut-outs - sublime music was created. This 10" 6-track release collects together some of the most hallowed Turbo releases which between them have become cherished by collectors.

Brother to Brother "The Bottle" captures the label at its most astute. Gil Scott-Heron and Brian Jackson’s original version was an album only track on Strata-East so Turbo seized the opportunity to quickly make a worthy cover version and rush release it a single which enjoyed success.

"Ton Of Dynamite" by Frankie "Love Man" Crocker was Turbo’s debut release in 1968 (it actually sounds a later recording). At the time Frankie was a DJ on WWRL radio station in New York and the release was essentially a reward for his previous support of All-Platinum releases. The record (a b-side) is actually made Willie & The Mighty Magnificent who went on to re-record it as

"Funky 8 Corners". It took until 1975 for "Ton Of Dynamite" to get recognition when it became an anthem as the UK Northern Soul scene adopted it as part of the movement away from old skool 1960’s Soul. Whatever its’ provenance, "Ton Of Dynamite" is now revered by the Rare Soul and Funk communities.

The Optimistics "Man" from 1971 is another b side single. The group specialised in smooth harmony Soul but "Man" is a funkier affair which won support from Rare Soul aficionados and will cost you £600 plus if you are lucky enough to locate a copy of the hard to find 45.

Willie & West "Attica Massacre", also from 1971, is an even more elusive single. It is a powerful protest against the killing of 29 prisoners, many black, following a riot at a prison - Attica Correctional Facility in New York. The deaths and a subsequently discredited cover up caused outrage. John Lennon was amongst the first musicans to make a recording about the bloodbath, but the most emotional protest is this Willie & West track. Only 300 copies were manufactured of one of the most powerful civil rights recordings ever made. The vocal sounds like anti-War Edwin Starr at his most bristlingly aggressive.

Perhaps the strangeness of All-Platinum is best illustrated by the later success of Lonnie Youngblood "Sweet Sweet Tootie" which is essentially the backing track of "Attica Massacre" plus exquisite sax playing by Lonnie. Despite it selling 100,000 plus copies the label did not see this as a reason to reissue "Attica Massacre". Strange. Or as Marvin asked "What’s Going On"?

The New Sounds "Don’t Take Your Love From Me" was only issued by Turbo as an album track. Despite good music on it the LP was poorly (it at all)/ promoted and flopped. The superb "Don’t Take Your Love From Me" is a long time Northern Soul / X-Over favourite.

Larry Saunders mesmerising "On The Real Side" made no impact when released on Turbo in 1974 but was nevertheless issued in the UK by London Records. The Northern Soul discerning dancers instantly latched on to its combination of uplifting lyrics, heartfelt vocal and clomping beat and since then its’ appeal has extended across the whole of the Soul community. Without doubt an all time classic.

So six treasures from a label that despite frequently advocating cash out of chaos frequently conjured up awesome music.

ANORAX is grateful to have the opportunity to present this very special Soul selection.

Deep in the sea lives one of Earth's most ancient creatures: the Nautilus. Hunted for its beautiful shell and now, through our global evolution, endangered, like so many other beings. Perhaps most astonishingly, no one has ever observed a baby Nautilus in the wild. The title track of this debut EP takes you on a dark journey, searching through the deep ocean for this elusive animal.

On the other side, I don't believe in Fermi’s Golden Rule, is a sonic interpretation of a statement made during a quantum field theory lecture, questioning the experimental mathematics often used to derive the famous rule. But actually, trying to express the confusion about quantum physics in general.

The dub-infused EP is mainly inspired by the pioneering magic of Detroit’s electronic music scientists and the experiments of European electro wizards.

he four tracks of his 2013-released „Feldspar“ EP see Romanian producer YVAT at the absolute peak of his sonic journey.
Roughly operating within the confines of IDM, Braindance, Phonk and Post-Dubstep YVAT serves a highly seductive sonic menu for advanced late night dancefloors with this one, amalgamating his signature backbone of highly detailed and well crunchy beats, shimmering harmonies and warmly caressing, comforting, all embracing low end goodness for those in the know. Criminally underrated and for the first time available to a global
audience.

Press quote:
„You used to dig Autechre but you think their best days are long gone as they've lost their bouncy beats vs. deep strings and nice little melodies path? Went off into deconstruction?
I'm totally with you here and that's why I love Yvats's recent "Feldspar EP" on the great Minor Label so much. The man named Octavian Justinian Uta - and which is better known to his parents under this name - brings back this special and long time missed twist again, serving the best Electronica 12" I've come across in ages. Limited to 200 copies in greymarbled vinyl and hardly available via regular distribution channels. Get your copy, now! “
baze.djunkiii / nitestylez.de / 04/2013
Never officially distributed before and available limited quantities only.
Limited edition of 200 copies. Grey-marbled vinyl pressing

Hamburg's GOME joins the roster of Cinthie's 803 Crystal Grooves Collective Cuts sub-label here with a new fourtrack EP entitled 'Free Refill', featuring a collaboration with James Juke. GOME is shaking up dance floors worldwide with a raw, 90s-inspired House sound infused with Funk, Soul and Disco.

Having built a strong reputation through releases on Heist Recordings and his own Snackwax imprint, GOME has earned support from leading DJs and performed at renowned venues including Robert Johnson (DE), Berghain (DE), Golden Pudel (DE), Shelter (NL), Lofi (NL) or Blitz, to name but a few. Alongside celebrated live hardware performances and the community-focused "GOME + The Gang" events, GOME has become known for an authentic DIY approach, making this new 'Free Refill' project a fitting addition to the Collective Cuts catalogue. Leading the EP is the collaborative 'Keep The Party Going' with James Juke, an apt title for a frenzied five-anda- half-minute House jam featuring swinging, snappy drums, siren-like synth swells, gritty chord stabs and an amalgamation of vocal hooks throughout. 'Extraordinary' follows, employing a gritty electro-leaning bassline, a crunchy off-kilter rhythm section, twitchy arpeggio lines and a loopy, infectious vocal refrain. On the flip-side, 'CONGRATULATIONS' sees GOME lean heavily into House roots, perfectly aligned with the Crystal Grooves sonic aesthetic. Harkening back to 90s rave culture, it combines shimmering piano hooks, squelchy 303 licks, robust 909 drums and murky low-pitched vocals. 'You Make' then closes the EP, a loop-led cut fuelled by circling synth lines, bright strings, a bouncy low end and a fluttering vocal hook.

Now pressed on Black Vinyl.

We’ve got a special AA-side vinyl release for all Toolroom and Cutting Recs fans with the original UK Edit of the seminal ‘This Brutal House’ from Nitro Deluxe followed, by the 2023 rework from Toolroom’s founder Mark Knight! A release you do not want to miss!

Sat in-between Electro and House genres, Nitro Deluxe’s pivotal record ‘Let’s Get Brutal’ on legendary imprint Cutting Records helped paved the way for the early beginnings of House music as we know it today. A record that has influenced so many of House music’s iconic artists, from being sampled by Kevin Saunderson (aka Good Life) in their huge hit ‘Big Fun’ and most recently, Mark Knight.

An unmistakable record and one that struck a chord in the early career days of label boss Mark Knight, who simultaneously sought to beef up his current sets in 2023 with the magic of those early House records, when the opportunity arose to update this classic Mark straight in. Keeping this new version sentimental to the original, with all those original synth elements included but laid over the top of an up-to-date Tech House groove with a renewed energy, so that today’s floors will appreciate that seminal riff, all over again.

*TIP* Previously released on Low Company in 2023, now back... a weirdo lo fi gem

Naturestrip, Naarm, Australia write:

"purely physical teeny tapes perform an invaluable public service in exhuming static cleaner lost reward’s ‘breathing under honey from the heady year o’ 2023’, a slack-jawed riddle within the all-consuming enigma that is thee world of tarquin manek™.

few records command a reissue so soon after their release, the soil heaped atop the (sainted) low company corpse still remaining more than a little damp, but this one’s discreet-to-the-point-of-fury initial release justifies the flogging of the proverbial carked horse, boiled back down into glue for a fresh round of rollicking mucky. arriving as the last release on that fine imprint, ‘breathing under honey’ represents (obliquely, natch) something of a convenient summary of that aforementioned elegantly sloshed world™, condensing as it does the artist’s proclivities exercised among the sweetest of contemporary depth-dwellers, articulated alongside/within y.l. hooi, bum creek, carla dal forno, f ingers, kallista kult, under endless solo monikers…the fun never ends.

let loose here in a suitably gonzo/spellunked mood, the second full-length under the static cleaner moniker (see debut $mile$ from 2013 thru altered states) is compiled of delirious half-thoughts & riddimic gestures accumulated between 2013 & 2020, everything wet & awash with a fine sprouting of lysergic mush between its digits. the implication thereof might suggest something schlonky or amateurish, but fear not, prospective listener, for your ears are in the sticky hands of one of the finest shit-savant prodigies these times have known, crud-caked technoid shapes & blissed pop-glob nous submerged in sublime dubbed-out grog, the resulting sonar-pong shards positively chemical in their ability to simultaneously slant + seduce.

think: martin denny face-deep in a paper bag at the black ark, graciously fucked tropicalia, liquid dub techno housed in vat of spiked quaff, the skaters infiltrating urban tribe, lopsided + caked to the nines in glitter for the gutter.

utterly tranced, sumptuous/sweet & patently ill. a classique of this modern horror epoch if there ever was one."

On the occasion of the 40th anniversary of the release of Remek Depo, the very first electronic record from the former Yugoslavia, the group Beograd has decided to unveil eight previously unreleased tracks in the context originally intended. The band initially planned to title their first album as Mrak ( eng. Dark). Recorded with Du Du A and other collaborators, this album serves as a manifesto of resistance—not only in Belgrade and Yugoslavia but everywhere else.

The A-side opens with the track 1984, named after George Orwell’s seminal novel. This piece was recorded in a single night in the same year, featuring Zoran Zagorcic (Du Du A) and one of the first Yamaha DX7 synthesizers. It encapsulates the dark and tense atmosphere of Belgrade during a period marked by economic crisis, characterized by shortages of essential products like coffee and oil, as well as electricity restrictions. This oppressive environment also impacted personal relationships, leading to unconventional expressions of passion and desire, as exemplified by the subsequent track from 1985, Mracni Predjet Zelja (eng: That Obscure Object of Desire). However, the primary source of frustration was political, stemming from the abuse of nationalism and the incitement of inter-ethnic conflicts within the complex Yugoslav society. This sentiment is vividly illustrated in the songs Hare Krishna and Belgrade Beat, recorded just before the country’s collapse in 1991. Remarkably, despite their protest, these songs convey messages of strong optimism and hope. In “Belgrade Beat Dejan Kostic (Du Du A) raps and Dejan Stanisavljevic sings. ”Od Studija B do Amerike, Beograd širi svoje talase, mi nismo sami u nama je svet, dolazi veliki preokret” (eng. “From Studio B to the USA, Belgrade spreads its waves, we are not alone, the whole world is with us, a great change comes!”). It is no surprise that this song was frequently broadcast on student Radio Index during the student and anti-war protests in 1992.

The B-side features contemporary songs produced by Beograd, which reflect protests against the current societal conditions in post-war Belgrade. Crafted with musical clarity and irony, these tracks satirize figures of repression, hitting their mark with an almost childlike purity, reminiscent of Hans Christian Andersen’s fairy tale, “The Emperor’s New Clothes.” The collaboration between Dejan Stanisavljevic, the leader of the Beograd and the Du Du A group not only influenced his musical expression but also laid the groundwork for the group’s socially engaged music in their later career.

As we remember the two late leaders of the Du Du A group, Dejan Kostic and Zoran Zagorcic, alongside the recently departed member of the Beograd, Milan Bubalo, this gramophone record stands as an important testament to the contributions of previous generations of artists in the fight for a fairer society. We hope it will inspire the younger generation in their current struggles, especially at a time when such inspiration is needed more than ever.

En Direct presents “No More Spectacles”, the fourth release from one of the finest electro EBM projects worldwide. With this new work, En Direct leans further into a sharper and more emotionally charged EBM sound while making clear they do not renounce their roots as the driving force behind the influential electro imprint Clear Memory. The record is infused with strong post- punk overtones, somewhere between the cold intensity of classic body music and the melancholic tension of post-punk reimagined through EBM structures. No More Spectacles delivers a sound that feels both immediate and deeply atmospheric. Drill-like kicks hammer through the mix while distorted basslines split the tracks wide open, locking into martial and commanding vocal lines that push the energy forward with relentless precision. Mechanical yet deeply human, the record balances darkness, groove, and emotional weight with remarkable control. Built for strobe-lit floors and restless bodies, “No More Spectacles” confirms En Direct as masters of a sound where post- punk sensibility and EBM functionality collide at full force. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Originally recorded and released in 1970, the Joe Henderson Quintet, At The Lighthouse: If You're Not Part Of The Solution, You're Part Of The Problem sees the influential jazz fusion sax player performing at the legendary venue in Hermosa Beach, California. Joined by George Cables, Ron McClure, Woody Shaw, Tony Waters and Lenny White the original album contained 6 live cuts. This 180-gram 3-LP Deluxe Edition, adds 5 unreleased tracks along with new liner notes from author Eugene Holley Jr.


























xy Mode for Joe [Alternate Take]*
[ya] If You're Not Part of the Solution, You're Part of the Problem [Alternate Take]*















[o] F1 Mode for Joe [Alternate Take]*
[p] F2 If You're Not Part of the Solution, You're Part of the Problem [Alternate Take]*

If Sylvie’s New Season were a movie, Ben Schwab would be the auteur, screenwriting and directing the vision, articulating his story through a cast of actors. In truth, New Season is a record of the freewheeling country-rock variety, Sylvie’s first with Ghostly International, and it finds the Los Angeles-based artist at the helm of a rotating ensemble, arriving at pure, joyous expression and renewed faith in the face of hardship. It’s a rare and refined kind of musical gesture, both intimate and all-embracing, self-produced, penned singularly, delivered collectively. An invitation to find beauty in life's trials and to trust that even the longest winters can give way to a new season. Like Sylvie’s self-titled effort, New Season still rings of the sunny, lighthearted, and smooth 1960s and ’70s pop, rock, and country sonics that have become the project’s signature. While Schwab constructed that 2021 project mainly with friends in his orbit, stemming from his time playing in Drugdealer’s band and other peripheral projects, he has broadened the scope tenfold for his full-length debut, New Season. The shapeshifting collective executes on an alluring mix of nostalgic and modern sensibilities, recalling the free-spiritedness of Laurel Canyon and bohemian-era Nashville with a contemporary sheen.

Faitiche presents the debut solo album by cellist, sound artist, and composer Topu Lyo: “quiet scenes from tokyo” brings together sixteen miniatures for solo cello and tape echo that oscillate between abstracts drones and rhythmic pizzicato sketches – all recorded at Topu’s Tokyo apartment. The constant traffic noise from a nearby highway has become an accompanying soundtrack for his compositions and can be heard on the recordings. Topu’s playing is marked by a distinctive idiom oriented more towards abstract electronic studio effects than classical technique.

The artist spoke to Jan Jelinek about his work:

JJ: A solo cello album may seem like an odd fit for a label that has to date released only music that is electronic in the broadest sense. But I think “quiet scenes from tokyo” complements the Faitiche repertoire exceptionally well. Its sixteen miniatures showcase the cello in all its complexity: the bowed passages sometimes recall a tape feedback drone; the pizzicato playing conjures up the percussion recordings of Moondog; and the abstract textures might be mistaken for the product of a granular sampler rather than rapid finger work on the cello. I’m constantly surprised by just how rich and varied this album is – without ever losing the charm of its sketch-like quality. Could you say a few words about the making of your album – first of all, from a rather technical perspective: what production tools did you use, and why?

TL: My production tools were very sparse. Just a solo cello and my Roland 301 Space Echo, which I only used at the end, running everything through it during mixing, tape only. After years of working with electronics, pedals, and synthesizers, moving to Tokyo pushed me toward minimizing my setup. But my aesthetics shifted too, toward simplicity. I wanted to strip everything back to just the acoustic cello and see how far I could push it — replicating some of my favorite electronic effects through extended technique: slow portamento, LFOs, filters, detune, noise. I’d also been listening to a cassette of ocean sounds for years. When I moved to Tokyo I was horrified to find myself living directly across from a freeway. Eventually the freeway started sounding almost identical to the ocean — and that ended up playing a prominent part in the recording.

JJ: That’s super interesting: mimicking electronic production as a compositional idea for the cello! You say the sound of the freeway is crucial to the album: I, too, tend to interpret steady traffic noise as a positive soundscape – do we hear the freeway on the album? I can also hear other field recordings, for example on “a street car with announcements”. Can you say a bit about how these field recordings influence your playing?

TL: Yes, you can hear the freeway on the album! The freeway is most prominent in “old trees in lonely spring”, “yuyake koyake”, and “the moon” (you can clearly hear individual cars). When I first began recording I had my balcony door shut tightly, but after a while I began leaning into the highway sound and slowly opening the door little by little to control the amount of noise. “streetcar with announcements” was a moment I was recording and a car passed by making announcements in the background. I loved how it sounded! Same thing with “yuyake koyake”, and later I realized that every day at 5pm the same song plays to mark sunset, telling children it’s time to go home. Having this bedrock of sound puts less pressure on me to put music on top or to play more notes.

JJ: It’s astonishing how much this differs from what I’d imagined: I’d been picturing peaceful landscape recordings, but had never thought of a freeway. Which goes to show how open to interpretation traffic noises are. So the room by the freeway had a major influence on the album – how are you going to perform it live?

TL: The contrast between the freeway and the beautiful landscape in my head couldn’t have been starker. I too was imagining a beautiful landscape in which to create the album, but somehow it still worked out. I've been going back and forth a lot on live shows and I think the most honest way is to have it the most stripped down. I was thinking of using traffic samples etc., but I think the duet really comes from the background sounds from every unique venue/environment. So as it stands, I’ll just be doing acoustic solo cello.

With the stunning Planes In Reverse, Sascha Funke, the Berlin-born producer and DJ, and long-time member of the Kompakt family, releases his first album in almost a decade, since 2017’s Lotos Land. It’s a welcome return for one of the most eloquent and elegant producers in electronic and dance music, someone who’s always been able to say more with less, and the ten tracks here, moving effortlessly between techno, house, minimalism, disco house, and home listening tunes, are all gorgeously sculpted miniatures. With guest appearances from partner Julienne Dessagne (Fantastic Twins), with whom Funke has also worked in Saschienne, there’s something homely and family about it, too; a family of sounds, a home of tone. There’s also something consummate about Planes In Reverse, as though Sascha Funke has perfected the album format. There’s no flab here, no excess – it plays out like a perfectly designed experience, ten tracks, coming in under fifty minutes, an album where every moment matters.

It’s full of variety, but everything has the unmistakable Funke thumbprint, one that was developed during the late ‘90s / early ‘00s minimal techno and microhouse moment, but which was always open to other ideas and other sounds, too. Planes In Reverse came together quickly for Funke: “Last winter, I had two or three new tracks, which gave me a core feeling: ‘Ah, this could be the direction of something like an album.’ Sometimes it can be very easy that you wrap it up and then it becomes something coherent and solid. This happened within two or three months; it was very fast and direct.” Everything fell into place – the ten tracks revealed themselves, the album sat together as a whole, and the final piece of the puzzle was returning home again to Kompakt, who have supported Sascha Funke from the very start, releasing his first single, “Campus”, back in 1999.

Planes In Reverse opens stealthily with “What You See”, where rhythms percolate and bass prowls while gaseous textures fill the sonic spectrum. It’s also the first appearance of Fantastic Twins on the album; here, she speaks a hypnotic mantra, a prelude to the title track, where Dessagne has a pure pop moment, her voice ecstatic and vibrant. Indeed, Planes In Reverse plays out like thesis and antithesis ending in synthesis, the tracks nestling next to each other even as they shuttle between sounds, genres, perspectives. There are some beautiful moments dropped throughout Planes In Reverse – the heavenly textures that make the title track feel so cloud-bound; the glassy and orbital tones that drop from the skies through the disco house inspired “Karat”; the clamour and clatter of hyper-edited voices shuffling through “Splitter”; or the field recordings of Sascha’s son football training session that drop “Zockers” into a different place and space, slowly giving way to a beautifully paced electro-pop mantra. “In Germany,when the kids play a computer game, or when they play football, we describe it as zocken. They’re the players, they’re the Zockers.“ Funke explains.

Planes In Reverse winds down with the beautiful “Kruso”, where ticklish, loving arpeggios careen around the room, and drift-work chords shimmer and shuttle between your ears. It’s a perfect comedown to an album that feels breathes in and out at an organic pace, nothing above 130 BPM, everything sitting together just so. Indeed, that’s the feeling you take away from Planes In Reverse; it sums up the spirit of Sascha Funke productions perfectly, while also existing beautifully as its own world dreamt unto itself. It’s Sascha Funke down to the very essence. Nothing unnecessary, nothing extraneous: Pure Funke.

Originally released in 2009, this massively in-demand record has been changing hands for anywhere between £50 and over £100 now finally available once again. You only need to check the width and depth of the DJ support tells you all you need to know.

DJ Support: A-Trak, Andy & Jaymo, Annie Mac, Brodinski, Cagedbaby, Damon Martin, DJ Mehdi, Erol Alkan, Filthy Dukes, Groove Armada, Hell, Jesse Rose, Joe Ransom, Kissy Sellout, Kris Menace, Pedro Winter, Riton, Rory Phillips, Seth Troxler, Severino, Shit Robot, Simian Mobile Disco, Thomas Schumacher, Trevor Jackson and The Whip

Retro Grade, (Serge Santiago and Tom Neville) an exciting act on the electronic music scene, revolutionising the world of Italo House with their release titled "Moda." This captivating track, infused with nostalgic vibes and infectious grooves, promises to transport listeners back to the heyday of '90s dance music while maintaining a fresh and contemporary sound.

"Moda" showcases Retro Grade's ability to seamlessly blend classic Italo House elements with modern production techniques. The track features pulsating bass lines, and euphoric synth melodies all meticulously crafted to create an irresistible sonic experience. From start to finish, "Moda" exudes an infectious energy that gets floors moving.

Not content with delivering a stellar original track, Retro Grade enlisted the talents of acclaimed artist Sound Klash to provide a mind-blowing Remix of "Moda." Sound Klash, known for this boundary-pushing approach to music production, puts his unique spin on the track, infusing it with his signature dubbed-out house sound. The result is an extraordinary reimagining that takes "Moda" to different heights, showcasing Sound Klash's unparalleled ability to reinvent and elevate electronic music.

"Moda" and its captivating Sound Klash Remix are set to make waves across the scene.

,Settle Down City" war 2006 das Debütalbum von Young Widows und markierte den Neubeginn der Musiker nach dem Ende der Hardcore-Band Breather Resist. Die Gruppe aus Louisville entwickelte darauf ihren charakteristischen Stil aus Post-Hardcore, Noise Rock und düsterem Post-Punk, geprägt von schweren, basslastigen Grooves, kantigen Gitarren und einer intensiven, oft beklemmenden Atmosphäre. Einflüsse von Bands wie Fugazi, Hoover, The Jesus Lizard und den Melvins sind deutlich hörbar, werden jedoch zu einem eigenständigen Sound verarbeitet. Im Zentrum stehen das kreative Gitarrenspiel von Sänger Evan Patterson sowie das kraftvolle Zusammenspiel der Rhythmussektion mit Nick Thieneman und dem damaligen Schlagzeuger Geoff Paton. Die Songs verbinden rohe Energie mit ungewöhnlichen Songstrukturen und legten den Grundstein für die spätere Entwicklung der Band zu einer der wichtigsten Noise-Rock-Formationen ihrer Generation. Zum 20-jährigen Jubiläum erscheint ,Settle Down City - Anniversary Edition" in einer umfassend überarbeiteten Fassung. Das Album wurde von James Plotkin neu remastert, mit restauriertem Original-Artwork versehen und um den bislang unveröffentlichten Bonus-Track ,White Water" erweitert, der bereits während der ursprünglichen Aufnahmesessions entstand. Die limitierte Neuauflage auf opak-gelbem Vinyl bietet damit die definitive Version eines Albums, das den Beginn der inzwischen zwei Jahrzehnte andauernden Karriere von Young Widows dokumentiert.

*Originally pressed in 2021 - this is a brand new master and cut.**

In partnership with Analogue Foundation, Oshu Records is proud to present the exclusive vinyl repress of "Laroyê" in a thick cardboard tip-on gatefold jacket on 2x 180g vinyl.

Acclaimed Hungarian, Berlin-based producer, composer and pianist Àbáse (AKA Szabolcs Bognár) returns, sharing a special, 5 anniversary remaster of his breakthrough project 'Laroyê'. Releasing on Friday 1 May via Bridge The Gap & Oshu Records, this sensitive exploration of Afro-Brazilian culture originally began as an audio diary, documenting Szabolcs’ travels and collaborations in Brazil through a collection of voice memos, fragmented beats, sketches and field recordings. As his journey progressed, and his collaborations and research deepened, the music project started to take on its own life:

"Laroyê evolved through weeks and months of research and collaborations into the album that it is now. That means that all the sessions were done in different apartments, small studios, often with borrowed equipment, which all adds to the character, but makes the creation of a coherent sound a challenge. Benjamin Tierney, Erik Breuer and Analogue Foundation did an incredible job with the mixes and with this new remaster. I truly believe that we are able to hear the tracks in a new light, with even more depth and clarity."

Coming from the West African Yoruban language, Àbáse stands for "collaboration" – a key element of the music perfectly encapsulated on 'Laroyê'. Recorded in Rio de Janeiro and Salvador, Àbáse spent five months working with diverse artists, from young talents to veterans of the Brazilian scene including Letieres Leite, Luciane Dom, Dofono d'Omolu, Afrojazz and more. The album explores the rich heritage of afro-brasilian culture through samba, MPB and Candomblé, mixing these with broken beat, hip hop and afrobeat, creating a contemporary homage to the classic Brazilian sound. Szabolcs shares:

"Despite already leading and managing musical projects that are close to my hearth, I always felt that one day I would like to start a solo project, where I could take full responsibility for the artistic direction and the music would reflect a truly personal vision. In 2017, I decided to take five months to fulfil a childhood dream and travel to Brazil to expand my creative horizon and expose myself to new influences."

An album standout is the bass-heavy, afro-brazilian ‘Agangatolú, which Àbáse describes as "best exemplifying the story and concept of Laroye as a collaborative effort - a research project exploring the rich heritage of Afro Brazilian culture through my own lens." The track features singers and percussion players Jadson Xabla and Gabriel Santana - two artists based out of one of the oldest terreiros (houses of worship) in Bahia, whilst drummer Jorge Dubman is an integral part of one of the most famous afrobeat bands from Salvador IFA. The contributions of one of Szabolcsoldest collaborators - Hungarian flautist Fanni Zahar - also made the track a full-circle moment.

On a quest for cosmic grooves of unity, Àbáses music pulls from an eclectic blend of global reference points, including modal jazz, Hungarian folk, West African, Brazilian, hiphop and underground electronic music. His work has drawn widespread critical acclaim from the likes of MOJO, Songlines, Soulection and The Guardian, and been supported by key tastemakers including Gilles Peterson, Jamz Supernova and BAMBII. As a keyboard player, Szabolcs has also collaborated with the likes of Wayne Snow, Dele Sosimi, Patti Smith, Emmanuel Wilkins, Gulty Simpson and Zeitgeist Freedom Energy Exchange.

'Laroyê' (2026 Remaster) will release on Friday 1st May via Bridge The Gap & Oshu Records.

Nashville’s Jess Kerber focuses on the profound resonances of simple moments, pairing delicate acoustic guitar lines with her rich and captivating tenor. The World Is Dark, but I Want It to Be Funny, her second LP for Felte, is a deeply affecting collection of homespun poetry and natural artistry that finds the artists reflecting on personal history, the emotional intricacies of relationships, and the value of cosmic perspective. She explains,“These songs come from a space of feeling a little left behind, so a lot of the album is about realizing and accepting impermanence, and learning how to be good to yourself and to others.”
Opening with “Familiar Strangers”, Kerber gets to the heart of her greatest talents: fluid fingerpicking, emotive vocal cadences, feather-light touches of piano, and subtle harmonies. “Louisiana Song” positions a lyrical chain of childhood recollections up against the literal rising waters that will one day submerge a cherished place: “I think about being southern / and the sand on the gulf coast / When I think about returning / I am wading in a graveyard”.
Throughout The World Is Dark, Kerber navigates an emotional tightrope, fully aware of the ills of the world while trying to find connections and peaceful corners. Even with all their nuances and challenges, she suggests, our relationships are essential to staying grounded, even when we lose them. “Much of my writing is about facing the struggles head-on, balancing what you need to do to survive while remaining true to yourself,” she says. There are echoes of influences like Joni Mitchell, Gillian Welch, and Lomelda, though Kerber injects her own unique wit, wonder, and humility into every passage, allowing the listener into her head for a spell while quietly taking up residence in theirs.

Bristol trio Jabu return with their first release for two years. Following on from their widely acclaimed third LP ‘A Soft and Gatherable Star’, this stand-alone double A-side Disco Mix 12” features four exclusive new tracks, while signposting fresh material currently being written, recorded and mixed for their forthcoming LP, due 2027.


If 2023 LP ‘Boiling Wells’ documented Jabu learning to be a live band, leaning into writing collectively in-the-moment, ‘A Soft and Gatherable Star’ took that record’s ad-hoc/mixtape blueprint, and fleshed out their transformation from an outfit rooted in hiphop and dubstep, to a guitar-based band with a unique take on dream-pop. It saw them described by The Face as “an experiential trio blending the raw edge of industrial dub with dreamy layers of ambient pop and shoegaze", and by The Wire as “like Mazzy Star remixed by The Mad Professor“.


Jabu have continued to grow in the space between releases, touring regularly for the first time, playing festivals such as Rewire and Le Guess Who?, and supporting the likes of Maria Somerville and AR Kane. Their extended live line-up now regularly incorporates those that contributed to ‘A Soft and Gatherable Star’, with new material often further developed as it gets passed back and forth between collaborators. Cellist Josh Horsley (Powders / Nightingale Floor) and multi-instrumentalist Will Yates (aka Memotone) both feature here, under the guiding hand of Birthmark’s mixing.


Titled after the rural, estuarine landscape bordering their Bristol hometown, ‘Severn Flood Plain’ sees the band pivot towards a more jagged and up-tempo, post-punk sound. It runs on a nagging drum machine pulse that feels closer to Joy Division than Sly Stone; while the echo-laced vocals and tremolo guitar phrasing hark back to the ‘50s slapback sound of Lee Hazlewood or Duane Eddy. Written and sung by Jasmine Butt, the lyrics describe a visit to a friend near the mouth of the Severn, and hint towards a darkness that can also be felt across that tidal landscape.


Dropping the pace to a languorous, sensual sprawl, ‘Where You Run To’ is plaintive and yearning, an opiated, ethereal flipside to ‘Severn Flood Plain’s more urgent, anxiety-laced opener. Alex Rendall’s vocals glide over a stripped, metronomic backdrop, eventually entwining with Memotone’s ghostly, processed clarinet.


If the band’s musical reference points appear to have shifted, their process remains indebted to dub and still very much rooted in the multicultural cross-pollination peculiar to their home city of Bristol. Both tracks are extended, with dub versions courtesy of Birthmark. The band sat in on those sessions, completing the circle that began with J’s on-stage mixing of their live sets. The strands provided by Will and Josh provide introspective counterpoint to the sound system leanings.


Jabu’s influences are threaded together as naturally here as on their long-running NTS radio show, ‘Music For Lovers’, which now occasionally guests on the Early Bird show slot. They are due to play World of Echo’s ‘Expected Music 2.0’ at London’s Walthamstow Trades Hall on 21st November with Loopsel, Insides, Giulio Erasmus, Thomas Bush, and Raime amongst others.

Do not adjust your tuning! Cowper emerges disc in hand from the liminal static, exposing us all to his peculiar brand of outsider club chaos. Boldly, slowly, Goa-ing into the fray, these three tracks chew your ear off in the sonic language of acid, trance and progressive house, churning and gurning their way deep into the darkness. In the time since the first dispatch of edit excellence, Cowper’s Between Stations has firmly established itself as an essential underground outpost, adding tape releases by Tolouse Low Trax, Zato and Miles J Paralysis to a growing catalogue of genre-fluid mayhem, consistently captured by his essential Noods Radio shows. Introducing itself with a gut punching kick and gurgling prog throb, the first track here is simultaneously upbeat and downcast, a glorious gloom-core ode to narcotic indulgence.
Extra-terrestrial pads and choral synth hark back to childhood days of Perfect Dark before a trance lead interrupts all remaining neural connections. When that snare lands in the second half we’re in fully fledged techno-pagan mode, red-faced and rushing right till the end. Assuming that even xenomorphs dance sometimes, this end of the world apocalypso is absolutely their jam. Track 2 tunnels further into the planetary core, 16bit woodblocks and bells sitting atop synthetic swells and hoover-ish vamps, before a hooning bassline drops like a sledgehammer on your unsuspecting ear drums. An unexpected, but very welcome left turn into mid track breakbeat provides a moment of airy reprise before we lock back into the cavern-shaking groove until the run out abates. For the encore, Cowper didgeri-doesus with the oscillating bass and molasses-apache break of a techno-tribal, prog-frog delicacy. Complete with the type of mantra vocal usually found on pound-bin trance or superspenny Dream House rarities, and a little acid-gwamph resonance abuse Josh Wink would be proud of, this chug-athon sounds a bit like Psychic TV tuning into Psy-trance, which is a very good thing indeed. Dark, dense and musky stuff that will drive a proper dance floor wild.