Search:you

Third release on the imprint with Australian born – Berlin Based, Static Collector .

Deep, deep stuff on the debut album from K Wata. Long and dubwise, dark and detailed. With bass that fills and warms a space.

All noir. Cast shadows against the wall. Weight being shifted and distributed with singularly delicate poise, like a knife being balanced on the end of a finger.

There’s a silvery, loose flow state to this record that maybe reveals the way some tracks were first written to be deployed live at Sustain Release 2025. Then taken back to the lab and tightened up further into the album’s final form, with beautiful mixing work between Kenzo and Chris Botta.

With that in mind, Give U Space unfolds slowly and fluidly, giving the listener the chance to access and open up to the deepness of the sound, being led down a path. It rolls and builds momentum and groove, and ratchets tensions up toward peaks of energy "Whisper Dub" and "There Will Be Love".

The tunes feel architectural. Rooms to be in and settle into. Simultaneously stripped back and then etched with neat little details and characterful or atmospheric sound choices. The silhouette of slo mo Memphis and Houston trap is a leading influence, especially with the drums. Mixing with bits of click’n’cut sampling and psychoacoustic tricks, the penumbra of dub techno and drowsier dubstep, and SG’s soft vocals rising in the ether.

The presence and inspiration of the sound system is obvious in all of Kenzo’s work, the music can rattle when spun up louder or blended into the club. But K Wata’s uniqueness and signature comes from an often equally inward facing quality, touched by distance and longing and a sort of chiaroscuro incandescent light set up.



Written and produced by K Wata.

Mixed by K Wata and Christopher Botta at Fer Sound Studio.

Vocals on “Give You Space” and “Go” by SG.

Clarinet on “Radio Embrace” by Eugene Lai.

Mastered and cut by Mike Grinser at Manmade.

Art by S. Gong

Repress!

Dan Kye is the mysteriously evoked moniker from multi-instrumentalist, producer, and vocal sensation Jordan Rakei. The New Zealand-born artist - who now resides in London - presents his first long-player from Dan Kye, ‘Small Moments’, on Bradley Zero’s Rhythm Section INTL. An ode to the dancefloor, the musical project was born out of Jordan’s lockdown experience, created from the comfort of his own home. Recorded with just a laptop, extra live instruments and guest musicians, ‘Small Moments’ seamlessly transcends across electronica, jazz and funk, with each genre being effortlessly fused with Jordan’s melancholy vocals. Allowing himself to push the boundaries, Jordan’s Dan Kye moniker draws on the energetic and uplifting elements of house and techno and perfectly mixes it with the sultry vocals and emotion that come with the live elements we know and love from Jordan Rakei. The record offers listeners a journey through more floor-heavy tracks such as ‘Mogeri’ and ‘Raro’ to more groove infused offerings such as ‘Rainbow Road’ (which is named after one of the maps in Mario Kart and inspired by the energy of Prince’s iconic live concert at The Aladdin in Las Vegas), whilst tracks, like ‘Sober’, take on a more lyrical and anthemic feel.

Jordan Rakei: “Rhythm Section INTL was my entry point into dancefloor orientated music, and it was Bradley who asked me whether I could head in that direction so he could play my music out in the clubs. Dan Kye has still got melodies, but the main focus is to keep it high energy.”

After meeting Bradley Zero online whilst living in Australia, Jordan eventually moved to London in 2014. The same day he landed, he went straight to a Rhythm Section party to meet Bradley, and it was here that he first got a taste for house music. He enjoyed Rhythm Section INTL’s ability to draw on both live and electronic talent; and thus, after Bradley asked him for some productions for the parties, the idea for Dan Kye was born. ‘Small Moments’ is a musical masterpiece that can be enjoyed as much on the dancefloor as it can in the comfort of your own home and is a perfect step into Jordan’s landscape and idealism of dance orientated music.

Bradley Zero - “In around 2014 the proprietor of the famous Northside Records in Melbourne handed me a self released 12” from a new, unknown artist based in Brisbane. It was Jordan Rakei - Franklin’s Room. I’d been home almost a year before I actually got round to listening to it and I remember that moment like it was yesterday. I lay down on the sofa, put the record on and was transported! The Dan Kye project is a testament to the experimental and independent ethos Jordan lives by and is a product of an artist reaching full stride but not afraid to still try something new. This ‘Small Moments’ LP was conceived in a record store, born in a club on Rye Lane and is now flying the nest, throwing caution to the wind and making a bold statement.”

Als Post Animal ihr neues Album IRON aufnahmen, waren zum ersten Mal seit fast einem Jahrzehnt alle sechs Originalmitglieder wieder zusammen im Studio. Das Ergebnis ist die Verkörperung von 30 Tagen voller Kameradschaft und grenzenloser musikalischer Entdeckungsreise – ihre erneuerte Verbundenheit ist unerschütterlich. Das Album nutzt die neue Schärfe, um Genregrenzen zu überwinden und erweitern, von Synthpop über Folk und Vintage-Radiorock bis zu spannungsgeladener Psychedelia. IRON versetzt den Hörer direkt in den Raum der Band – freizügig und experimentell, aber dennoch präzise gespielt. "Das Zusammentreffen all dieser kreativen Kräfte war wie geschärftes Eisen," sagt Sänger/Bassist Dalton Allison. "Wenn wir nah beieinander sind, machen wir uns gegenseitig besser."

For their next release, Phase Group invites you deep into the mind of a singular artist to offer a glimpse of their prolific body of work, zooming in on music composed specifically between 2018 and 2021.

Across 16 tracks, ‘Summa 2018-2021’ by Serbian producer Andria reveals a highly unique approach to sound design and composition, spanning the realms of futuristic IDM, ritual ambient, fourth-world techno and other elusive electronic genres.

Listening to this album in its entirety feels like entering a self-contained sonic world, where animistic and ancestral traditions are refracted through unfamiliar forms of technology. It’s an album which moves effortlessly from moments of deep and contemplative abstraction, as heard in tracks like ‘Sunlessness’, with it's atmosphere of otherworldly field recordings and ancient rites, to propulsive tracks that will guide clubs through ceremonial trance states such as ‘Floating Island’, where industrial kicks underline expressive poly-rhythms, evocative synths and snarling digital glitches.

The release is a gripping and immersive listening experience filled with spellbinding and expertly conjured sounds alongside highly effective moments of dance music that will surely find their way into the sets of the most expressive and fearless DJs. This is one for fans of Coil, Shackleton, Andy Stott and Demdike Stare.

Behind the work is Andrija Čugurović the Belgrade-based artist. A graphic designer by day (and in-house designer here at Phase Group), he dedicates his nights and time away from work and production to Belgrade’s underground electronic scene, digging deep into the worlds of Bass, Techno, Industrial, Ambient, IDM, Experimental and Computer Music.

A regular attendee at spots like Drugstore and the 20/44 boat since a young age, Andrija has honed a deep connection with the music he creates and DJs and that is evidenced in this highly original collection of music. This is his second release on Phase Group, coming after his debut EP ‘o o o o o’ in 2020, the second release on the label.

'Summa 2018-2021’ is available digitally and on high-fidelity C-90 cassette, dubbed at Tapeline UK and distributed by Rubadub.
All tracks composed and produced by Andrija Čugurović.
Mastered by Giuseppe Ielasi.
Artwork by Andrija Čugurović.

You wake up abruptly on cold floorboards, your body aching as if from a great fall. White light floods your vision. Where are you? Last thing you can remember you were hurtling through the Genesis Domain at breakneck speed, but this is definitely somewhere different. As your eyes come into focus you see the hall is grand, intimidatingly opulent. A full house of seated onlookers peers at you expectantly. You’re on a stage, you realize. Flames creep up the walls, engulfing the room and lighting the faces in the audience; the heat is oppressive, but nobody seems to notice. A voice booms out.

“And now, ladies and gentlemen, the moment you’ve all been waiting for! Presenting: a performer of great renown all across the land, yours for one night only… introducing—”

Tiny bells jangle around your head as you shift your weight, obscuring whatever name the announcer just called out. You try to sit up. The jester’s hat tumbles off with a clatter. Not this again, you groan. Your head spins with vertigo. You grimace, trying to remember something. You had just gleaned an urgent and existential truth in the Genesis Domain, but it’s slipping away now… what was it?

Off to your left, a whip cracks. The impresario glares at you from the wings, fist clenched around a diamond-encrusted whip, mouthing at you to get up.

You try to run, but the weight of an incorporeal authority bears down upon you. The impresario cracks his whip again, an impish smirk forming on his lips.

With resignation, you begin to work the room. What else can you do? Tendrils of giggling and gossip creep through your periphery. The heat is suffocating and the smoke stings your eyes, but the show goes on. Remembering your bag of tricks as if from a dream, you raise your hands in the air, invoking the universal call to audience participation. The crowd goes wild. You feel the rush of a familiar thrill. Being the Fool comes naturally to you, you realize, as the palace burns around you.

Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous pressing.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.

Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.

Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.

Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.


Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.

The album was produced by Nick Raskulinecz (Foo Fighters, Rush, Alice In Chains) who became a believer after just a few songs of a ’68 set while the band was touring with Stone Sour last year.

Best Remixes is an album by Two Brothers On The 4th Floor, released in 2023. Best Remixes includes a.o. the following tracks: “Dreams 2016 (will Come Alive) (louis Bailar & Dimitris Kops”, “Dreams (will Come Alive) (twenty 4 Seven Remix)”, “Do You Know (where You're Going To) (ferry Corsten Remix)”, “The Sun Will Be Shining (ferry Corsten Remix)” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve dance 2-LP.

Swedish visionary Boko Yout is releasing their long-awaited debut album GUSTO, out via Hoopdiggas Recordings.
GUSTO is Boko Yout’s debut album – a kaleidoscopic journey through memory, trauma, humour and healing. Framed as a fictional therapy programme led by the eccentric Dr. Gusto, each track represents a confrontation with a different shadow of the self: unspoken fears, inherited burdens, or unresolved inner conflicts. But GUSTO is not just about darkness – it’s also about hope, longing and the light that makes those shadows visible in the first place.
Boko Yout weaves together raw emotion, spiritual symbolism and bold experimentation. Referencing vodun philosophy, Jungian archetypes and post-genre production, they draws inspiration from artists like Yves Tumor, Odd Future and LCD Soundsystem. The result is a debut that feels more like a sonic manifesto – driven by love, intention and a deep commitment to artistic freedom.

LTD Repress !

Miami's TK Disco unleashes the official Todd Terje Edit of K C & The Sunshine Band's "I'm Your Boogie Man"

Limited copies. Only available to Record Store Day 2015 registered stores in the UK, France, Holland and the USA.

The roots of hard rock act Tucky Buzzard lie in psychedelic group, The End, who supported The Rolling Stones on an early tour, leading Bill Wyman to produce their sole LP. The band then morphed into Tucky Buzzard, now with scorching lead guitar licks and Hammond organ parts to the fore, and Wyman still on board as producer and manager. For their final album, Buzzard, released on Deep Purple’s Purple imprint in 1973, there is a mix of hard-edged blues rock, with a fine interpretation of perennial classic, “Who Do You Love,” and wistful originals like “Hanging On In There.” As ever, Wyman’s sterling production and presence on acoustic and electric piano makes this one a must for all Stones fans.

Originally released in 1981, La folie is the 6th studio album by English new wave band the Stranglers. Available for National Album Day on 1LP translucent pink vinyl for a limited run.

Originally released on CD in Japan in 2003, as a love letter & thank you to his Japanese fans. Recorded at home, produced, engineered & mixed by Matthew Sweet (bass, guirars & vocals) with the classic ‘Girlfriend’ era lineup of Ric Menck (drums), Greg Leisz (guitars) and the genius electric lead guitar of Television’s Richard Lloyd. The sleeve art is by renowned artist Yoshimoto Nara. In the liner notes, Sweet describes the album's title as an attempt at reverse English: "If I did it correctly, the title should seem a little strange or wrong, but still meaningful! The true definition is supposed to be a 'love you' life, one devoted to loving someone or something, even life itself!"

“an excellent modern guitar pop album, filled with great hooks and harmonies and irresistible ringing six-strings”
Allmusic

“Kimi crackles with Girlfriend‘s energy, as Lloyd and Sweet’s guitars provide antagonistic foils as they did more than a decade before on cuts like “Tonight We Ride.”
Rolling Stone

The fifteenth album by Stevie Wonder, originally released in October 1972. As the second of five consecutive albums which made up Stevie's classic period, Talking Book found Wonder at the top of his game, combining tight song writing with warm electronic arrangements and effervescent vocal performances. Released in 1972 and sandwiched between the release of Music of My Mind and Innervisions, Talking Book saw the then 22 year-old Wonder enjoying more artistic freedom from Motown, taking over the production reins and playing most of the instruments himself. As a result, the sound of the album is sharply defined by Wonder's exquisite keyboard work, and his use of the Hohner clavinet model C on Superstition became widely regarded as one of the definitive tracks featuring the instrument. Despite making the majority of Talking Book himself, the album also benefits from the talents of guest guitarists Jeff Beck, Buzzy Feton and Ray Parker, Jr who featured on Maybe Your Baby and Lookin' For Another Pure Love.

In 1996, Busta Rhymes delivered his debut album, The Coming, three years after the Leaders of the New School unofficially disbanded. Though his talents were evident on those Leaders of the New School releases, Busta went on a series of features that only built up the public's desire for a solo Busta album. Right out of the gate, Busta dropped his classic debut single "Woo Hah!! (Got You All in Check)" that made it abundantly clear he was to be mentioned among Hip Hop's greatest solo artists. The energy and originality packed on that one song set a tone for the album that displays Busta's raw talent and ability to bend words with his ever rambunctious flow. The album features production by Easy Mo Bee, DJ Scratch, Q-Tip, and J Dilla. Songs such as "Everything Remains Raw", "Abandon Ship", and "Still Shining" all rise above as The Coming's stand-out tracks, but "Ill Vibe" is the album's crown jewel moment. Busta sounds right at home over this J Dilla beat, trading verses with his Native Tongue cohort Q-Tip. The Coming was a critical and commercial success for Busta Rhymes. It reached #6 on the Billboard 200 chart in 1996 and has since received a platinum certification from RIAA. As mentioned, The Coming boasts the hit single "Woo Hah!! Got You All in Check " which reached #8 on the Billboard Hot 100 chart in 1996. It was nominated for a 1997 Grammy Award for Best Rap Solo Performance. It also ended up sporting another hit single, It's a Party featuring Zhané. The Coming shows amazing variety where Busta can break free from the bells and the whistles of the Busta Dungeon Dragon flow to explore other ways of leaving our jaws open by his incredible lyricism. The Coming surely lives up to its title, as Busta delivers a performance that ignited his impeccable solo career.

Apex militant late '70s style here, if you think you are into steppers you should have this one firmly in your sights. One of Mr. Smart's hardest records, this originally appeared only as an album track, but also had some fame as a dubplate played at the time by Jah Shaka and others. We've long had that cut in our sights, and while some nice new re-mixes of this tune appeared in the last few years, here is the real thing from '79 steel. The A-side features the raw dubplate cut vocal, no horns or other adornment, HARD to the point stepping drum and bass style. The B-side features the original Gussie Clarke dub mix aptly titled "Hot Steppers", also previously released only on album. This cut as well was run on dubplate back at the time, a killer mix with full horns but no vocal. Leroy Smart is one of our all time favorite artists and we take pride in having re-released a handful of his all time best records, this one now added to that list.

Dennis Brown in fine 80s style singing classics such as

• Rocking Time

• Little Bit More

• Hold onto What You Got

• Tribulation

With typically heavy production from The Mighty Two.

There’s this feeling that House Music is sometimes diluted into a pleasant, non-offensive and conformist formula. Well, Jackie Gritness - you may have heard of her big bro Gary - is bringin’ all the sweat, the attitude and the filth down - take it or leave it.

Jackie introduces herself from both sides on this well-strapped debut 12” - the slick swingin’ & sangin’
on the bass-heavy A side, and the raw clave trax and cunty snarls of the acid-laced B side.

No trace of over-production or tired sampling here: this is just Jackie, her mic and her lil’ groovebox -
gettin’ raw in the studio just like she does onstage. Only thing added is some wall-shaking mastering by New York OG Dietrich Schoenemann.

This is the kinda House that’s supposed to make regular folks wanna turn it off. This ain’t rated E for Everyone, it’s rated F for Freaks.

It’s music from the underground, for the underground - as it was first revealed on the runway of Glastonbury’s infamous NYC Downlow last summer.

And if that’s more than you can take - it’s alright. It’s not like Jackie will hold it against you.

Jackie Gritness
“Gary’s little sister.” His studio session resume reads like a House music who’s who - from David Morales to Fred P. He’s also been rockin’ clubs with the Playin’ 4 The City and MLIU crews - but she’s also been seen on Gideon’s fierce Homo-Centric Records. See, this bitch’s true feelings about House are stripped-down, bare-bones, and unapologetically sexual. With a radical ‘live’ attitude, she’s serving the realness with an irresistibly acidic zing.

Presenting this limited edition 300 picture disc vinyl on Warehouse Manifesto from label boss GAMADON with the original track TERMINATION and five amazing remixes. Each remix is a collaboration between two different artists. The original tracks is a mind-bending, hard-edged electro stomper, shaped with harsh, distorted industrial beats, warped synths and hypnotic bleeps that will make you bounce! Power & X-Tuder's menacing remix growls throughout and drenches you in dystopian dread. Nasty Boxes & Robodrum's cyber-punk banger is filled with cinematic soundscapes and 80's synth-lines, that invite you on an epic electro journey. Code Rising & Geon bring some Miami Bass to the table and provide us with a brutal, percussion heavy, monster. ADJ & Errorbeauty's remix is a metallic, blisteringly harsh journey across a desolate electro wasteland. EXM & Kim Cosmik end the proceedings with an experimental, IDM, glitchy, anthem.

Exit Records expands on dBridge' sophomore album A Love I Can't Explain with two new interpretations by The Fear Ratio (James Ruskin & Mark Broom) and Kahn. In keeping with the label's ethos the artists were left alone to deliver remixes without any stylistic requests and as a result we have two tracks that are personal & uncompromising.

dBridge has been a firm supporter of both Kahn and TFR so it's very fitting that Exit Records releases TFR's debut remix and Kahn's rework, which repurposes what you thought you knew about him as an artist. The ALICE remixes are another leap forward for Exit Records.

Scofield and Metheny. What more needs to be said? A masterpiece meeting of musical minds, these two guitar virtuosos entered the studio in December 1993 with Steve Swallow on bass guitar and Bill Stewart on drums to create one of the greatest jazz guitar albums of all time. Produced by Lee Townsend, I Can See Your House From Here is an 11-track set of Scofield and Metheny originals including Sco’s expansive title track and Pat’s rocking “The Red One” and the stunning ballad “Message To My Friend.”

Who Cares A Lot? The Greatest Hits spotlights some of the biggest tracks released by Faith No More between 1987 and 1997. It includes massive hits such as “Epic”, “Easy”, “Evidence” and their first single “We Care A Lot.”

Presented in chronological order, this collection highlights the journey Faith No More went on, starting with tracks such as “We Care A Lot” and “Introduce Yourself”; tracks sung by original lead singer Chuck Mosley. After his departure in 1988, the band turned to current frontman Mike Patton, who’s first album with the band was the renowned “The Real Thing.”

Faith No More have maintained a cult status, being widely credited for developing alternative metal and having influence on bands such as Limp Bizkit and Slipknot. Founding member and bassist of Nirvana, Krist Novoselic, cites Faith No More as one of the bands who paved the way for Nirvana. This record presents a true celebration of Faith No More’s music and is on gold vinyl for the first time.

The band had previously announced a European tour in 2020, which had to be postponed due to the COVID-19 pandemic. These dates have now been rearranged for dates across the UK and rest of Europe during June and July of 2021, with an Australia and New Zealand tour to follow.

New Supa Killer Boogie Funk album of Funk Lab "Natural Feeling"

PURE GARAGE RETURNS WITH A CAREFULLY CURATED SELECTION OF COLLECTIBLE CLASSICS.

Pure Garage, the best-selling UKG compilation of all time, returns with a fresh stack of high value collectible classics on DJ friendly vinyl.

With a host of gold & platinum selling compilation albums under it’s belt, plus countless sold out events across the UK, Pure Garage is known and trusted by both hard-nosed purists & the casual listener.

This latest foray coincides with an incredible resurgence in interest for the UK Garage sound, bringing together 8 high collectible infectiously funky cuts, spread across a DJ Friendly 2 slices of vinyl.

Pure Garage Collectible Classics Volume 1 opens with Buggin Me by garage pioneer Zed Bias alongside Al Brown, a groovy bassline, funky beats and a great vocal hook combine perfectly to showcase the mighty Zed Bias at his funky best.

Set It Off, by Chris Mack / Flavour, is a truly collectible record. Originally only available on vinyl as a limited white label press, copies of Set It Off have been trading hands on sites such as Discogs for as much as £130… It’s worth buying this compilation purely to get hold of this track on vinyl!

Another track that is going for big money on reseller sites is Romantic 2001 by DJ Deller. With this minimal 2 step riddim having sold for up to £120. This is definitely one for the collectors.

Funkaholics aka Jeremy Sylvester rounds off the first piece of vinyl on this album with the bass heavy Down 2 Da Ground.

Vinyl 2 kicks off with the sing-a-long classic from 1998, Anthill Mobs’s track Don’t Leave Me, followed hotly by the speed garage sounds of Body Grooving by M.F. Project.

Finally, Deep Impact drops My Fantasy followed up with a regular name of the Pure Garage live event line ups, Scott Garcia drops his soulful club classic Music Takes You, rounding out an impressive batch of tracks representing everything exciting about the UK Garage genre.

PURE GARAGE COLLECTIBLE CLASSICS VOL 1 will be released on double vinyl 16th December 2022!

After running a sound system and studying electronics overseas, Spanish Town-based Harry Mudie began releasing rhythm and blues recordings by local performers, enjoying more concerted success during the reggae era of the late 1960s and mid-1970s, crafting lasting hits with artists like Dennis Walks and the Spanish Town-based toaster I Roy.

The first volume of the Dub Conference series, made with King Tubby, has stripped-down cuts of some of Mudie’s greatest productions, including ‘Lorna’s Dance,’ a percussion and horns take of ‘Caught You In A Lie’, and a strings cut of the Heptones’ ‘Love Without Feeling.’

Released in 1982, Upstairs at Eric's is the groundbreaking debut album by Yazoo. It features the international hits ‘Don’t Go’ and ‘Only You’, alongside fan favorites ‘Goodbye 70s’ and ‘Midnight’ plus the haunting ballad “Winter Kills.” Produced by Eric Radcliffe and Yazoo, the album is a masterclass in electronic pop, blending Vince Clarke’s innovative synth work with Alison Moyet’s idiosyncratic vocals. Pressed on limited edition Crystal Clear Vinyl.

A new 4-track EP by one of Japan's top crate diggers, SOUTHPAW CHOP, is here!
A dope and timeless collection of beats that follows the true path of traditional sampling hip-hop - once you hear it, you can't stop nodding your head.

TV and Radio Appearances 2008-2013

Rob Smith, RSD is not only a successful dubstep producer and pioneer of the Bristol sound, but also a very popular deejay travelling the world sharing his music. Coming from a reggae background and well-versed in sound system culture, Rob kept some of his best productions for his exclusive use when deejaying, the only way you would hear these gems was being played in one of Rob's sets. Fortunately, we've managed to persuade Rob to let Reggae Archive Records share these dubplate specials with a wider audience on a limited-edition vinyl LP. Compiled and sequenced in conjunction with Rob, the LP features nine tracks newly edited and mastered by Rob to enhance the bass playback on vinyl - it's cut heavy!
The tracks were recorded between 2006 and 2011, a time when one strand of dubstep heavilyembraced reggae and dub. Rob calls these tracks reggae infused dubstep and that's what they are, but Reggae Archive Records is a reggae label and this selection of dubstep tracks will most certainly appeal just as much to reggae and dub fans. Fusing dubstep beats, reggae samples, and seriously heavy basslines, this is a joyous celebration of musical cross fertilisation that has been tried and tested in clubs worldwide. In keeping with the dubplate origins of the tracks, we have designed the labels to replicate an old school acetate, while the sleeve pays tribute to seventies pre-releases albums with a replica stamp giving just the artist and title on a plain white sleeve with aged effect.

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band over the course of a spring week last year, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

Midway through Martin Luther King, Jr's historic speech at the 1963 March on Washington, a voice rang out from behind him: "Tell them about the dream, Martin!" That voice belonged to Mahalia Jackson, King's close friend and one of the most revered gospel singers of the 20th century - Glorious Mahalia, a visionary tribute to Jackson's life by the internationally renowned Kronos Quartet, uses that moment as a springboard to explore the depth of Jackson's musical craft and its impact on the Civil Rights Movement, including her relationship with Clarence Jones and Studs Terkel, other luminaries of the time

Galcher Lustwerk's 'Vestibule EP' is one of the best of the year if you ask us, (and the remix package by some genuine heavyweights is also worth seeking out). That the leftfield US producer is now back with another outing is literal and metaphorical music to our ears. This one strips away his usual muttered vocals and opens with the stuttering, dubby rhythms of 'North Coast Nostalgia' before 'Cat Video' suspends you in uneasy synths and a skeletal minimal rhythm. 'Thick Description is a deeper, more insular sound for the afters and 'Mock Tudor' is dusty, beautifully imperfect analogue house that is scuffed up and soulful in Lustwerk's signature low-key style.

Revered worldwide for their love-fueled, technically adventurous all-vinyl b2b DJ sets, Maya Bouldry-Morrison (Octo Octa) and Eris Drew conceived Alchemical Sisters as a vehicle for creating music together. Alchemical Sisters describe themselves as "psychedelic chaos, acid rollers, and big beat, channeled through hardware instruments and animated by love, touch, rhythm, and spiritual fire." Their self-titled debut double album is forthcoming on Interdimensional Transmissions this October, just in time for Samhain XXVI. Alchemical Sisters was recorded in the forests of New Hampshire by Maya and Eris and mixed by BMG in Detroit in the Interdimensional Laboratory on high end hardware for ecstatically euphonic results. In the cold winter months, Maya and Eris emptied the master bedroom of their forest cabin and sealed it as an alchemical retort--a hermetic vessel in which a higher form could emerge. For a year they slept on the studio floor while, in white nightgowns and under the spell of mushrooms, they brought dulcimers and ancestral instruments into communion with turntables, twentieth-century machines, and new technologies. Alchemical Sisters is the substance crystallized within that vessel by their secret fire. They then brought their music to BMG in Detroit to meticulously mix their vision through hardware, in a high end studio environment. For two weeks at the height of winter, we shut out the world and focused on fusing their sonic vision within the Interdimensional Laboratory. Setting up their computer and sound card, BMG processed their tracking sessions through a high end mixing console, using transformers and tubes and the special properties of many machines to create a solid visceral sound out of a dream, to create a powerful euphonic ecstatic experience from their highly personal highly evolved music, whose sources could be both carnal and celestial. It was important to have their music connect before thought, to feel both the power and the gentleness of their sound, to have the texture and presence of their myriad influences unconsciously affect you. Watching them work together, the patience, the focus, the rigorous thought and discipline, the love, the space and the dedication afforded to each other was a genuinely inspiring thing to witness. They truly are Alchemical Sisters, and we are extremely proud to share their debut album on IT, and their debut performance at IT's Samhain XXVI. It truly is a loop point in time, a full circle moment.

An Elephant Eye; A Frozen Girl; and an Umbrella Man walk into an Icebox. All have been shoveled out of a Jungle-den and are covered in Mud Fleas. The Umbrella Man has been Dolt-ing around on the Machinery for Years. . .knowing it Hasn’t-Really-Rained since he threw his last Bacchanal. He thinks he owns birds; he just listens to them really. The Frozen Girl keeps away from him but moves Incredibly slow given the Circumstances. . .she’s been trying to tie her shoes for 700 years. The floating Eyeball, defying all Man Physics, Miraculously Phases himself All the way to the outside of the Icebox; Barreling through the Crisp air. He then comes to a Grinding halt before a Ginormous Totem pole of Speckled flesh, Grey and exceptionally thick, Wrinkling like telephone Wire. He quickly realizes that’s where the rest of his Body went. The only thing that’s missing is his Trunk. But he’s learned to communicate Decently Well without it. . .Using Semiotic chains of Eyelid-signifiers. . .An Eyeball shaped hole has been Burnt into the Icebox but the Frozen Girl won’t know for another 53 years and by then Big-Pants won’t even be in. The Umbrella Man doesn’t particularly so much as Notice and think its smells a lot like Burnt toast. He says he’s off to the Cemetery.


What do Them Three have in common anyway? Well they all Dig Pins; they also all Exist because of Him. And, Starting today, are Perpetually Entrapped in 10 millimeters divisions of Black resin upon a Circular Plain. I want to hear them cry and shout, You might say, because we are all Up-standers. But all crying and shouting Ourselves into the Icebox. . .

Aetheria marks the second chapter of this journey, where Egyptian Greyhound explores an emotional landscape shaped by house, trance and progressive influences.
Each track reveals a different facet of the same ever-evolving experience, gradually unfolding into a world of its own. Intimate and introspective at times, expansive and euphoric at others, the music moves through shifting atmospheres, hypnotic rhythms and melodies that linger long after they fade.
Rather than following a fixed path, Aetheria invites you to surrender to the moment and discover where the sound takes you. From its first breath to its final echo, the journey unfolds through emotion, movement and an immersive sonic atmosphere, leaving space for something new to emerge.

History Of Modern is the band's first record since 1996's Universal. Andy McCluskey has described it as their "best album since Architecture and Morality - high praise indeed.

All artwork for the release has been designed by OMD's longtime cohort Peter Saville.


This autumn also sees OMD embark on the 'History of Modern' tour, with the classic line up of Andy McCluskey, Paul Humphreys, Martin Cooper and Malcolm Holmes. The dates will see a mix of new songs with classic hits.