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Cross Record's new album, Crush Me, is steeped in the pressures and wonders of existence—a profound statement, especially coming from artist and death doula Emily Cross. A two-and-a-half-year gestation period offered challenges, disappointments, and joys reflected in the cramped space of the album, which explores how we handle the weights we carry. Emily Cross had held hundreds of Living Funerals and was as many episodes deep into her podcast, What I’m Looking At. She was five years into serving clients as a death doula and fresh off a tour with Loma, her band with Jonathan Meiburg (Shearwater) and Dan Duszynski, when she began work on her fourth album. After moving from Austin, TX to Dorset, UK, she established the Steady Waves Center for Contemplation (named after a track from her second record, Wabi-Sabi ), where she hosted Living Funerals, met clients, scheduled mindful tea sessions, and showcased experimental music nights. All the while, she was scribbling down song ideas. Cross’s Tascam four-track demos finally reached readiness, and she sent them to an interested major independent label. She was encouraged to push her imagination to the limits of what a record could be. So, unlike her usual process of recording as inexpensively as possible, she prepared a two-week recording session in Germany with a group of skilled musicians from around the world. True to her previous work, Cross left plenty of room in her demos for experimentation, collaboration, chance, improvisation, and complete obliteration, then resurrection when necessary. Comfort and traditional structure were eschewed in favor of unaccountable magic, prayers whispered into The Void. Cross is comfortable with the chaotic and unpredictable, a perspective demanded by her work and writing style. The Berlin Airbnb was packed with people, instruments and luggage. During a ride down in a tiny elevator to the studio, Cross realized how central the sense of being crushed was to the album. “I thought of it later and it dawned on me that ‘Crush Me’ perfectly embodied the record,” says Cross. Yes, the weight of a body laying limply atop yours, or the tight squeeze of a hug, can be pleasant. Go too far, and you’re in the hands of a cruel, adolescent god. Upon leaving Germany, the record was unfinished, and without a roadmap. As passages were recorded as isolated parts, Cross and musician Marcin Sulewski collaborated, facing a haphazard brick pile, waiting to be assembled. Work dipped in and out of view like a buoy bobbing in a violent sea over many months. During that time, the aforementioned interested label went radio silent, suddenly not seeming so sure of a thing. Collaborators disappeared, continuing the themes of abandonment, surrender, and disarray that followed the project. Cross physically felt her entire body go numb: In a twist of fate, the record was rescued by long-time friend and supporter Ben Goldberg at Ba Da Bing Records who was eager to help realize the project. Cross worked for months on the album, all the while nursing a pregnancy and continuing her full-time funeral work. The last minute participation of Seth Manchester of Machines with Magnets, who mixed and mastered, was an essential liferaft. He gave true final form to the abstracted songs. Crush Me has the effect of a spell being cast, with songs balancing heaviness and levity. Vocals, guitars, and keyboards float above, as drums and upright bass (often bowed) lurch beneath. On “Rolling Backwards” percussion wanders about while feedback squeals and persists in the distance. “Dorset Area Of Natural Beauty” starts with a thick, unhinged church organ progression punctuated by the disquieting sounds of laughter reaching the point of hysteria. “God Fax” is a slow-moving panic attack, with shallow breaths in and out framing a guttural cacophony like a wooden freighter encountering increasingly turbulent waters and vocals struck emotionless by autotune. The album ends with “Twisted Up Fence,” a reflection on life from outside the wall--wistful, warm, and comforting. Cross, likely with a smile on her face, sings: “You say it’s an endless abyss” “And I say the abyss is the best”

Raw deep house pressure from Sascha Dive, four cuts blending soul, groove, and late-night mood, with Roland Clark blessing the mic. Limited green vinyl for those who still move to the real sound.

DJ Feedbacks :


Laurent Garnier : Cool tracks
Josh Wink (Ovum) : Liking 'Im Inspired' the best here.
C-Rock : Those Nights for me, nice NYC dub House touch!
Radio Slave (Rekids) : I've always been such a big fan of Sasha's productions and "There Is No Tomorrow" hits the spot.
Fleur Shore (Undergrowth / Cuttin' Headz) : im inspired, beautiful track
Reboot (Cecille / Cadenza) : schöne tracks ️
Satoshi Tomiie (Abstract Architecture) : Solid release!
Alinka (Twirl, Classic, Crosstown Rebels, Batty Bass) : Nice one
PBR Streetgang : Invocation and Im Inspired are great
D'Julz (Bass Culture) : those night is the one for me here
Damian Lazarus (Crosstown Rebels) : Thanks for sending. Xx
Ben Sims : Now downloading... will check asap!
Archie Hamilton (Microhertz / FUSE) : Nice thanks
Eddie Fowlkes (Detroit Wax, Rekids, Classic Music Company) : thanks
Tim Sweeney (Beats In Space) : Lovely
Doc Martin (Sublevel) : Sascha on a good one,with the voice of house music Roland Clark no less!!!
Terry Farley : THOSE NIGHTS WORKS FOR ME
Chloe Caillet (Smile Records) : love this!
Oliver $ (Classic Music Company / Play It Down) : Sooo gooood!
Ame (Innervisions) : thanks
Danny Tenaglia : Downloading for Danny Tenaglia, thanks!
Robert Owens (Trax / Musical Directions) : Cool tracks
Kai Alce (Real Soon) : Nice deep tracks from Sascha
Mark Farina : dig them.
Lea Lisa (Phonica Records / Folklor Club) : Really good definition of House
Alexkid (Rawax / FUSE / NG Trax) : Phonogramme (and Sascha Dive) on fire at the moment...
Harri (Sub Club) : lovely stuff, will play and support

Two Thou’s Oraculu releases a full length spiritual electronics LP with tubaredefining Theon Cross, homeboy Taymour Khajah, soulful presence of D’Monk
and Division81 vibe designer Sonny Daze. The sun-inspired record sets a high
energy moment for Oraculu, blurring all the lines between the dancefloor, the
horns, Berlin, London, Chicago, and Sardinia. This record is about change. I’ve
started to be less interested in the fire of the sun, the explosion, the heat. The
consistency, the orbit, the return got my full attention. Until it clicked, that
repetition is a fundamental aspect of change.

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.

Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”

Forbidden Dance Records returns with its 13th release to the city where the label's journey first began: Chicago.
For The Black Is The Night EP, longtime Chicago house figure Vick Lavender joins forces with multi-instrumentalist Justin Dillard for three deeply musical downtempo cuts, bringing together the language of Chicago house with jazz, soul and live instrumentation.
Born and raised on Chicago's West Side, Dillard is a pianist, Hammond organist, percussionist, composer and arranger whose musical path has crossed with figures such as Branford Marsalis, Ornette Coleman, Roscoe Mitchell and the late Von Freeman. His musicianship has also become an integral part of Lavender's richly organic productions over the years.
Across three tracks, Lavender and Dillard slow down the tempo without losing the pulse. Warm keys, live instrumentation and loose percussion unfolding through the kind of deep, soulful arrangements that have long defined their work together.
A return to Chicago, but from a different angle.

UK Garage has ridden a new wave of hype and exposure over the last few years. Artists like Sammy Virji and Interplanetary Criminal have crossed over to the mainstream, while dancefloors across the world have shaken to a switched-up version of the sound that defined the UK underground either side of the millenium.

Hidden beneath a pink balaclava, the mysterious DJ Jackum has lurked this rejuvenated scene while dropping some of the most defining bangers of the period. Often surfacing in the form of moody edits released on Soundcloud, Jackum productions inevitably demolish dancefloors whenever dropped, as they frequently are in the sets of Virji and the other big guns.

Landing on Hotflush, a storied label of UK underground music, ‘Context’ is his most substantial work to date. Six tracks covering the full spectrum of the Jackum sound, from 4/4 heaters to dubstep-adjacent eyes-down bass pressure.

And in the form of opening track ‘Floo’, Jackum spreads his wings into a place that transcends the narrow confines of genre definition. From the UKG building blocks of bass, drive, cut-up vocals, and melody, the track emerges as something both familiar and wholly unexpected - the mark of a producer at the peak of their powers.

‘Clip Empty’ is another highlight of this standout EP. Showing a flair for the cinematic, a breakdown of militaristic snares gives way to a trademark rolling bassline and earworm vocals.

Away from the 4/4 bangers, ‘Take Your Body Higher’ is a guaranteed half-step rewind, while ‘Step Up’ recalls memories of smokey Plastic People sessions of the mid-2000s.

Pablo Sánchez´s new solo album “Archipiélago” is out now. The new long player, a follow-up to his “Nocturnal” album as Basic Need will be released on Sisternoise Records and is a 42 minute voyage sailing through uncharted waters.

Every archipelago is a constellation of islands, distinct yet bound by invisible tides. Archipiélago, the latest work from Pablo Sánchez, follows this same geography of sound and memory. Its islands are not of sand and rock, but of places which inspired the artist throughout his life; Buenos Aires, Caracas, Puerto Rico, New York, Madrid, Berlin, and Barcelona. Each city has left a trace, a shoreline carved into Sánchez’s musical journey and left a distinctive musical mark.

The ten songs gathered here are like sovereign entities, each with its own character, its own rhythm, its own language. Together they form a single territory, a map drawn by musical experience, longing, and imagination. They are ports of call, but also fragments of a larger voyage, where tradition and experimentation, nostalgia and discovery, coexist to create a common territory. Along the way guest magicians Animal Feelings and Salomeya add their vocal sparks to the voyage.

Archipiélago is not a destination but a map of crossings, a territory of sound where the journey itself becomes home.

IVM Trio is made up of percussionist & composer Sébastien Forrester, producer & visual artist Mika Oki, and artist & producer Apulati Bien. All three sit within the French-Brussels axis, united by a shared love of free improvisation, sparse atmospherics and rapturous club mutations. Inner Voice Movement is a genuinely exploratory record — abstraction and contemplation sit side by side, as the trio dives into the micro-precision of computer music while mirroring organic, environmental schemes. These have long been persistent points of study for all three artists.

Arriving on Accidental Meetings, their debut album has been a long time coming, and it features three outstanding vocalists. South Korean artist bela brings the depth and range of their guttural vocals; Bristol-based Grove, a leading voice in punk-dancehall crossover, pulls things back with a spoken-word feature; and Naples sound artist Sara Persico rounds things off with a stunning excerpt of storytelling.

Annie Bloch’s luvt is a quiet reorientation of the organ: away from its monumental image and ritualised spaces, towards the delicate mechanics of touch, air and friction. Across seven compositions marking her debut on OOH-sounds, the Cologne based organist and composer turns to the chest organ, a small and mobile counterpart to its larger relative, traditionally used to accompany Baroque music. On luvt, Bloch limits herself to just three stops of wooden pipes, using the instrument’s sensitive keyboard, mechanical subtle effects to crystalline sound world shaped by meditative strategies and fanciful detailing. Bloch’s approach sits at the crossroads of modern composition, new psychedelia, ambient and minimalist traditions, with occasional traces of an avant pop sensibility, while keeping the unique sound and physical character of the chest organ at its core.

The title luvt derives from the German luven, “to turn to the wind” and Luft, “air”, a gesture Bloch extends beyond the mechanics of the chest organ towards what cannot quite be grasped or put into words. Bloch follows the organ into quieter, more intimate territory, letting its monumental potential fade into the background while exploring the sensual its sound. luvt is a gentle and immersive meditation on the sound of the chest organ, revealing the instrument’s contemporary relevance while pushing its expressive possibilities into new territory.

Annie Bloch (*1994) is an organist, composer and songwriter based in Cologne, Germany. As an organist she performs solo and in alternating constellations with an improvisational and situational approach. The reality that every pipe organ as well as the space it speaks in is unique, is something she not only adapts to, but actively works with. The resulting composed improvisations explore states of change. Her pieces focus on the in-between-spaces, that are already leaning towards the next event. Searching for the ambivalences in a sound and lingering on them, her music resists singular truths. The musical material she draws from is informed by her engagement with the experimental music scene, but also by compositional styles of pop and ambient music. She has performed at Huddersfield Contemporary Music Festival, Orgelpark Amsterdam, Philharmonie Köln, Moers Festival and others. As an indie-folk artist Annie Bloch released the album „I DEPEND“ (Papercup Records) with a chamber orchestral band, that she regularly performs with.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

An exciting announcement - The Return Of Cosmic Ritual by Joaquin Joe Claussell.

The Return of Cosmic Ritual

Kanita- Forgiveness is a Beautiful Thing Featuring a Cosmic Tribute to Nujabes

Cosmic Ritual, the early recording alias of Joaquin Joe Claussell, emerged during the formative years of his journey-with at the time the young and visionary Spiritual Life Music label. From those beginnings came For The Loft in You, a composition whose atmospheric language would travel far beyond its original moment-helping shape a sonic vocabulary that continues to resonate throughout the deeper realms of contemporary dance music.

Its influence can still be felt today: in the spaces between rhythm and silence, in the textures of deep house, ambient soul, spiritual jazz, and in productions created by artists who continue to explore the unseen dimensions of sound.

Now, after its long journey through the cosmos, Cosmic Ritual returns.

At the heart of this new chapter is “Kanita (Forgiveness Is a Beautiful Thing)”, a composition that journeys even further inward-toward the more atmospheric, introspective, and soundscape-oriented side of Joaquin Joe Claussell’s musical spirit.

It is music for the inner traveler.

And as another celestial passage, the release also offers a special Cosmic Tribute to Nujabes Titled "Heaven", Nujabes is a deeply admired artist whose work transcended boundaries and whose musical spirit continues to inspire generations across cultures and continents-even after his untimely departure.

This tribute is more than an acknowledgment. It is a meeting of frequencies, a quiet conversation between kindred spirits who understood that music could exist beyond genre, beyond geography, and beyond the limitations of ordinary perception.
And Finally " Myths Across Tribes " A Trance Dance Percussion number that takes the listener into the jungles of Africa.

As with all of Joaquin Joe Claussell’s work, The Return of Cosmic Ritual l invites the listener to go deeper.

For those who seek mind travel.
For those who listen between the notes.
For those drawn toward cosmic ambience, spiritual resonance, and the deeper dimensions of sound.

The final installment of the GIANT SKY trilogy, Giant Sky III, will be released on October 2nd, 2026, preceded by the single "Fleeting Glimpse", which offers the first taste of the new album. A companion postlude album, The Further We Go The Deeper It Gets, will follow on October 16th, 2026. Together, the two records complete an ambitious body of work that has seen Viken explore a broader and more introspective musical landscape than ever before. "Fleeting Glimpse" provides an evocative introduction to the final chapter of the GIANT SKY trilogy. While Viken"s band Soup has become renowned for its emotionally charged, crescendo-driven soundscapes, GIANT SKY allows him to embrace an even wider palette of influences. Drawing from alternative art rock, post-rock, electronica, ambient music, indie, folk, and progressive rock, the project balances immersive atmospheres with memorable melodies. In an era increasingly dominated by algorithms, artificial intelligence and digital perfection, Viken has consciously taken the opposite path. GIANT SKY is built around the human element of music-making, embracing imperfections and authenticity as artistic strengths. "This album has been with me for a long time. Some of the ideas on Giant Sky III go back many years, and in a way it feels like a cross section of the last 25 years of my life as a composer. We live in a time where music is increasingly shaped by algorithms, AI and endless digital possibilities. I suppose this record is my way of walking upstream a little bit - taking the slower route, trusting the human imperfections, and letting the music find its own shape. It wasn"t a quick album to make, but I"m proud of what it became: ambitious where it needed to be, modest where it should be, and above all, honest." - Erlend Viken

Feelin’ Love returns to Soulfuric Deep with a fresh remix package built around one of house music’s most recognisable vocal anthems, bringing new energy to a timeless dancefloor favourite.

Originally released by Soulsearcher, the track has remained a staple across house and disco sets for decades, celebrated for its uplifting vocal, infectious groove and enduring crossover appeal.

This new edition pairs the original Soulsearcher Club Mix with a selection of contemporary reinterpretations, including brand-new remixes from RUZE & Chesster and Dr Packer, alongside the Ian Carey Main Mix, offering a versatile package for both modern and classic house DJs.

Blending soulful vocals, groove-led rhythms and contemporary production touches, the release bridges generations of house music while retaining the feel-good energy that made the original such a lasting success.

Back on fresh 12" vinyl, Feelin’ Love continues to resonate with both long-time collectors and a new wave of DJs, making it a strong addition to any house-focused record selection.

A highly recognisable and DJ-friendly release for stores supporting house, deep house and soulful dancefloor sounds.

OSFUR, UVITA & Lampetee unite on Crosstown Rebels with their ‘Self Control’ EP. The three rising acts explore the space between instinct and restraint across two productions.

OSFUR, UVITA & Lampetee come together for their debut EP on Crosstown Rebels with ‘Self Control’, a two-tracker that, at its core, challenges the need to always be in control. Following their #4 Beatport Indie House charting track ‘Stukk’ on Essential Part earlier this year, and fresh from a B2B with Bedouin at their SAGA residency at Club Chinois as well as a headline show at SAVAYA, OSFUR and UVITA have continued to elevate their presence on the international circuit. In tandem, their productions have received heavy support from across the scene, including names such as Adriatique, Mind Against and Keinemusik. Joining them, Greek duo Lampetee - formed by brothers Merter and Mertchan Tzivan Sali - have curated a sound that traverses darker club, hypnotic rhythms and a strong focus on groove and progression, releasing on the likes of Crib Records, Madorasindahouse Records, and Ultra. Arriving on the 18th of September, this meeting of minds finds natural alignment on Damian Lazarus’ renowned imprint, capturing the shared language that has emerged between the three acts.

Built around a groovy bassline that pulls you in, ‘Self Control’ is about letting instinct take over and exploring the space between the mainstream and the underground, all tied together by Joshua Morris’ catchy vocals. On the B-side, ‘Chema’ takes a deeper, introspective approach, delicately crafted with brooding sonics and deft textures that have become synonymous with the trio, providing the perfect counterpart to close out the EP.

Energy Exchange Ensemble follow-up on the acclaimed 'Vol.1' continuing the legacy of label-curated studio sessions by in-house production duo, Lewis Moody and Ziggy Zeitgeist.

Offering a unique take on the 'Various Artist' compilation in the sense that the production team have enlisted an A list of players in informal jam sessions, gracefully guiding the sessions into their own unique brand of dancefloor and spiritual jazz.

In the spirit of cultural exchange and spontaneity the sessions are gathered over the course of a few years between Berlin, London and Melbourne. Naturally boasting a long list of collaborators including Erica Tucceri (Deep Matter), King Owusu (Jembaa Groove), Oscar Jerome, Hurcules (Kokoroko), Nathan Haines (ChilliFunk records) to name a few.

This is a unique and creative setting for the duo to explore a more intimate and exploratory approach in the studio further cementing their reputation as a dynamic and innovative team in contemporary jazz crossover.

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.

Original Press Release: ‘Headsoup’ is a new compilation that deepens the legend of mysterious Swedish psych collective Goat even further. Collecting rarities from across band’s celebrated career, including standalone singles, B-sides and digital edits and two enormous brand new tracks. It’s a globetrotting acid trip of a record that’s even bigger in its scope than their acclaimed studio LPs.


From the incendiary heavy psych of their earliest work, like debut B-side ‘The Sun And Moon’, to the serene Requiem’-era alternate take ‘Union Of Mind And Soul’, to the simmering menace of their latest material, it’s a record as multifaceted as Goat themselves, packed with detours in every conceivable direction. Taking in jazz-flute solos, pounding Afrobeat rhythms, ferocious desert blues, drifting Ethio-jazz, this is, as the name of Goat’s first album made clear, ‘World Music’ in its most complete form, a sound unrestrained by genre boundaries. Yet the band are anything but lazy appropriators. They approach their forebears with upmost reverence, articulating a celebratory cultural cross-pollination.And what about these two new tracks? ‘Fill My Mouth’ is a scuzzy psychedelic funk knockout, the sleaziest thing the band have ever recorded. ‘Queen Of The Underground’, meanwhile, is truly herculean, a swaggering psychedelic powerhouse of the very highest order. Sometimes dark and heavy, at others joyous and beautiful, like Goat themselves ‘Headsoup’ is mysterious, and constantly shapeshifting, difficult to properly pin down but constantly enthralling. Almost a decade since Goat first emerged from the depths of Korpilombo, there is still no other band on earth that sounds quite like them.

Demilitarize follows Nazar’s remarkable 2020 debut Guerrilla, which reprocessed Angolan kuduro music with rough textures, field recordings and media clips, telling a personal story of the civil war that exiled his family to Europe, while his father, a rebel General, fought a losing battle in the jungle back home. After Guerrilla, and an extended period of serious illness, now Demilitarize is motivated by a reckoning with mortality and the flowering of new love, turning the ‘rough kuduro’ of Guerrilla inside out.This is a deep sound world, genuinely dreamy, the arc of the album describing shedding the armour of trauma and surrendering to this new situation. A constant and unexpected aspect of Demilitarize is Nazar's gentle, submerged vocal. Insistent and mantra-like, it’s like a cross between Elisabeth Frazer, Arthur Russell and Frank Ocean, and the music is fragile and opaque in response. The rhythms of kuduro are still here,but move around his voice like fish around a swimmer, while precise sound design illuminates from different angles. Chords spiral, ripple and shoot through the beats giving tracks the loosest of settings; songs disassemble; vocals float off-centre.

RANDY'S 50th ANNIVERSARY CHAPTER ONE / VARIOUS - First time on vinyl for Chapter Two second part of the acclaimed previously CD only set that was released to celebrate the 50th Anniversary of Randy's Records. From Augustus Pablo's groundbreaking 'Java' to Carl Malcolm's UK pop crossover hit 'Fattie Bum Bum' Chapter Two showcase classic after classic from a all-star line up of the 70's reggae music greats including Black Uhuru, Horace Andy, Dennis Brown, Gregory Isaacs, The Heptones & Big Youth. Beautifully packaged with inner sleeves featuring rare photos and liner notes by reggae historian, Dennis Katz.

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.

We are so excited to welcome back Tigerskin with a brand-new Album. This 12” is the vinyl version
showcasing six deep, euphoric and banging tracks taken from the full album.

The digital album features twelve brand new tunes by Alex Krüger and delivers his 3rd studio album as Tigerskin.
“Image” not only continues his search for the ultimate dance floor deepness, and contrary to just imitating his own “best selling” club grooves, it rather displays his ongoing artistic progress as a producer and composer of electronic music.

Opposed to his 2013 album “All Those Goodbyes”, which musically rooted in the early 90s and included a ton of collaborations with friends and long time partners, “Image” focuses more on Alex’s general musical roots and shows his compositional preferences. Apart from a few samples, this time around it doesn’t feature any co-productions at all nor did Alex use crazy or special gear to create the tunes. Many sounds are coming from natural and acoustic sources. Expect 80s New Wave references or spooky Wagner-esque bits to pop up next to dusty downbeat interludes. Euphoria next to relaxation. Tigerskin’s journey leads him from ironic comments on the present times via deep, occasionally melancholic or dark and hypnotic material up to the final tune, a homage to the infamous German brothers, Thomas and Klaus.

Tigerskin’s love for experimentation and cross-genre diversity on “Images” is more tangible than ever before.

Dive into this great deep journey, Enjoy!

Monolink and CIOZ bring a stripped-back electronic edge to Crosstown Rebels with ‘Don’t Talk To Me’. The German multi-instrumentalist makes his Crosstown Rebels debut alongside Italy’s CIOZ, with OMRI. also returning to the label on remix duties. There are few artists in electronic music quite like Monolink. Moving naturally between singer-songwriter, producer and live performer, his music gives as much weight to voice, melody and narrative as it does to electronic production. For ‘Don’t Talk To Me’, he joins Bergamo-born, Berlin-based CIOZ, whose own work is driven by rich musicality and a willingness to move beyond convention. The link-up makes for an intriguing signing to Damian Lazarus’ Crosstown Rebels, bringing together two different approaches to electronic music without either losing their identity.

‘Don’t Talk To Me’ is deliberately pared back, pairing Monolink’s voice and songwriting with sparse textures and gently shifting melodies. Rather than building towards a conventional dancefloor payoff, the track unfolds with a quieter sense of tension, sitting somewhere between alternative songwriting and electronic voyage. An artist whose productions and remixes have quickly made him a recurring presence in the Crosstown Rebels universe, OMRI. takes the track deeper with his remix, adding darker, hypnotic qualities while preserving the original’s restraint. ‘Wasting Time’ closes the release with another sweeping collaboration, built around subtle melodic details and captivating synth flourishes.

The collaboration marks Monolink’s first outing on Crosstown, adding to an impressive career that has seen him craft his distinctive sound via Berlin-based imprint Embassy One and on labels like Cercle Records. Performances have taken that music from Burning Man and Montreux Jazz Festival to Day Zero Bali, where he joined Damian Lazarus for its first edition, as well as sets alongside Lazarus at Club Space, Zamna and more around the world. Meanwhile, CIOZ brings his own expansive approach back to the label, with material also landing via Monaberry, Frau Blau and Stil vor Talent, plus remixes for Diplo, Oliver Koletzki, Patrice Bäumel and the Crosstown head honcho. With both artists comfortable moving between emotional depth and dancefloor function, ‘Don’t Talk To Me’ gives that shared instinct plenty of room to breathe.

JUNO & Jamek Ortega link up for ‘Deep Breath’ on Crosstown Rebels.

Following an impressive label debut earlier this year alongside Alex Wann on ‘Allo’, crowned Pete Tong’s Essential New Tune, Germany’s JUNO returns to Crosstown Rebels with ‘Deep Breath’ in collaboration with longtime production partner Jamek Ortega. Immediately drawing listeners into a hypnotic, percussive world, snaking rhythms and rattling cowbells build steadily beneath an atmospheric backdrop, before a commanding vocal emerges to anchor the groove. The release continues a relationship that has seen the pair produce across labels including Arodes’ Unreleased Records, Wired World, and more, as well as regular back-to-back performances. On the flip, ‘Sloppy Disk’ sees JUNO step up solo, locking into a driving four-to-the-floor groove where a rolling bassline provides the foundation for pensive chords to drift alongside subtle melodic flourishes, steadily expanding the track’s atmosphere before tumbling into a sweeping, cinematic finale.

JUNO has accelerated onto the scene with hits like ‘Last Dance’ on Magnifik Music and a Hot Mix for Pete Tong on BBC Radio 1, firmly earmarking him as one to watch. Meanwhile, DJ/producer Jamek Ortega continues to connect with audiences worldwide with outings on Three Six Zero, MoBlack, Abracadabra, Madorasindahouse, and more, picking up heavy rotation from the likes of Keinemusik, Solomun, Tiësto, and Black Coffee. Here, the pair show no signs of slowing down as they join forces once again, stepping onto Damian Lazarus’s imprint and marking a major milestone in their respective trajectories.

Producer duo Crossroads is back with another track featuring the talented young singer Cler. This time, they’re taking on a huge classic originally by Grover Washington Jr. and Bill Withers. 'Just The Two Of Us'—a soul classic that’s been loved across three generations—gets a fresh update here, perfectly matching today’s modern soul sound. And once again, Cler delivers goosebumps with her vocals, bringing a seamless mix of simplicity and passion to an timeless hit.

Celebrating ten years of independent music, Nerang Recordings returns with its sixteenth vinyl release, A Decade of Nerang Recordings - Mix Selections. Bringing together six artists from across the label’s history and extended community, the compilation showcases the diverse sounds that have shaped Nerang over the last decade. Featuring DJ Swagger, Nasty King Kurl, Subjoi, DOS, Low Tape and Moody McIvor, the release moves effortlessly between UK Garage, House, Tech House, Lo-Fi House, Electro and Synthwave while maintaining a clear identity throughout. Since its inception, Nerang Recordings has never been interested in following a single genre, scene or trend. Instead, the label has always focused on releasing music based on quality, individuality and atmosphere. Over the years that philosophy has resulted in a catalogue that crosses stylistic boundaries while remaining connected by a shared spirit. A Decade of Nerang Recordings - Mix Selections serves as both a celebration of the label’s first ten years and a statement of intent for the future. Each track represents a different corner of the Nerang universe, reflecting the sounds, influences and artists that have helped shape the label’s journey so far.

From rolling UK Garage rhythms and club-focused house cuts through to hazy lo-fi textures, cinematic synth work and darker electronic excursions, the compilation highlights the freedom that has always sat at the heart of the label. Rather than being confined by genre expectations, Nerang continues to embrace music on its own terms, allowing each release to find its own identity and audience. While thisrelease reflects on the past decade, it is equally focused on what comes next. The goal remains the same as it was on day one: support great artists, release music without limitations and continue exploring new territory wherever it may lead. Ten years in, Nerang Recordings remains committed to doing things its own way

Originally released in 2017, Zara McFarlane’s Arise represents a classic moment in Brownswood Recordings catalogue. Just before the global spotlight landed on London's new jazz generation, Zara McFarlane was already forging her own path - connecting jazz, soul, reggae and Afro-Caribbean traditions with a confidence and clarity that remains striking nearly a decade later. Arise captures an artist operating with singular vision, creating a body of work that sounds every bit as fresh and forward-thinking today as it did on release.
The album also stands as an early landmark in the career of Moses Boyd, who produced and co-composed the record while serving as Zara's longtime drummer and musical collaborator. Years before his Mercury Prize-nominated breakthrough, Boyd helped shape Arise into a deeply personal exploration of heritage. The credit list is remarkable: Moses Boyd, Binker Golding, Shabaka Hutchings, Nathaniel Cross, Peter Edwards and Shirley Tetteh all contribute to a record that now reads like a roll call of British jazz royalty. The iconic cover shot was taken by Adama Jalloh, around the corner from Brownswood’s North London HQ.

Upon release, Arise was met with widespread critical acclaim. The Guardian praised “A Class Act" and celebrated its exploration of African-Caribbean musical lineage, while Clash Magazine described it as “enchanting and intriguing”. All About Jazz called the album's fusion of jazz and Jamaican rhythms "spellbinding".
As Brownswood celebrates its 20th birthday, we're proud to return one of the label's defining releases to vinyl, with the original copies being highly sought after. Pressed on limited edition gold vinyl, this special anniversary reissue is both a celebration of Zara McFarlane's artistry and a reminder of a record that was both ahead of its time, and whose influence resonantes today.

Ian Simmonds presents his new album "The right side of kind" on Goldmin Music. Ian Simmonds is one of the most creative Nu-Jazz/Downtempo producers of the last 20 years.
Although these words can't describe his music properly as the man is always looking for an innovative sound that could cross the boundaries of musical styles. The Welsh-born found his inspiration in music from all over the world and his songs don't only express one clearly defined feeling. They are more of a subtle mix of emotions that let the listener interpret it his way. As Ian said himself: "I think there's a lot of beauty in melancholy". For example, he spent over a year living in a castle in Germany to record his last album " The Burgenland dubs" in a solitary atmosphere where he could really think, breathe, make a plan. That's the point, Ian is always re-thinking things over, looking for a new source of inspiration which results in a constant evolution. He had the chance to collaborate both with amazing musicians like Goldfrapp and electronic music heads like Mathias Kaden, Soulphiction, Krause Duo..

The third release on Uprising pairs a sax-driven rockabilly thumper with one of the coolest dance craze records of the mid-60s. ‘Red Hot Car’ was Bobby Verne’s only recording and came out on the tiny Californian Doc Holiday label in 1962. Judging by the current price and collector demand for an original copy only a small quantity were pressed. This is a powerhouse of a tune that has been filling dancefloors across the globe for some time now.
As for the flip, in 1965, Buddy Wayne added self-penned lyrics to Gary Paxton’s rendition of the James Bond theme. Released on the Big Ben label – that only put out four records − it sat unwanted for decades. Then the rockabilly scene picked up on it in a big way when they discovered that it was the perfect stroller. This was closely followed by the northern soul and mod scenes. Today, it is at last crossing over to a more mainstream audience.

„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut.

The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself.

Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002.

The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear.

The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music.

PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace.

Institut für Feinmotorik (*1997), artist-group originating from Black Forest working in various fields. In musical context known for transforming turntables into instruments by removing the records and instead applying rubber bands, paper scraps, household materials – resulting in a vivid laboratory for the productive misuse of everyday objects. This approach is documented in record releases and performed live.

Adam Ten and Yamagucci team up on Rekids with ‘Keep Workin’’. Label head Radio Slave steps up with a remix.

Frequent collaborators Adam Ten & Yamagucci drop 'Keep Workin’' on Rekids, with a remix from label boss Radio Slave. The single is an irresistible club tool with immeasurable bass weight. Bold, rubbery drums and grinding low-end combine in bouncy fashion while a vocal fragment loops up top to create perfect dance floor tension. Brighter chords eventually rise through the mix, providing emotional release that will get hands in the air and take things to the next level.

On the remix, Radio Slave strips the original ‘Keep Workin’’ back to dusty, shuffling drums with jazzy flourishes. The track has a live, lived-in feel, complete with vulnerable piano keys that haunt the spaces above its weighty groove and transfix any crowd with eerie beauty.

Adam Ten is a long-time House innovator, Maccabi House co-founder and Upon You Records and Higher Ground artist, with over twenty Top 10 Beatport releases and millions of streams to his name. He blends the grit of Techno with escapist melodies in versatile, curious sets and productions that have earned him bookings worldwide. Yamagucci has made an equal impact on the world stage through his field recordings and organic percussion, adding a unique twist to his tracks on labels like Disco Halal, as well as Diynamic and Crosstown Rebels, labels that Adam Ten and Yamagucci have also collaborated on together.

ROMANCE is redefining the French rock landscape with a distinctive identity that blends punk urgency, infectious melodies, and lyrics sung in French. Rooted in the legacy of the Rennes music scene while looking firmly to the future, the band transforms a wide range of influences into a sound that is instantly recognizable. Their debut album, Promis ce soir, is driven by memorable hooks, a strong artistic identity, and a live energy that has already made an impression. Produced with James Eleganz, the record showcases a mature band capable of appealing to both indie rock audiences and a broader mainstream public. The singles Alizée, Le Net, and D'la faute à moi perfectly illustrate this crossover potential. With a striking aesthetic, evocative songwriting, and a genuine live DNA, ROMANCE is emerging as one of the most exciting new acts in French-language rock.

Between the late 1960s and the mid-1980s, an informal community of musicians across the Dutch Caribbean islands of Aruba, Curaçao, and Sint Maarten created music that crossed stylistic boundaries. For nearly three decades, they shared stages and ideas across islands, forming a close-knit network shaped by common histories and identities, while rarely receiving wider recognition. Their recordings were released locally, often in small runs, and many were never properly archived. As a result, much of this music, and the stories it carries, faded from view. Antiyano Progresivo is dedicated to these artists, many of whom were well known locally, but whose more unconventional music remained largely unheard.

"Things are looking better than ever for GENERATION STEEL! The quintet from Wetzlar/Germany, has reinvented itself on all fronts and is set to take the music world by storm with its upcoming third studio album, Steelmachine.

With the addition of guitar wizard and songwriter Thilo Herrmann - who made his debut in 1985 on the FAITHFUL BREATH classic “Skol” and has written heavy metal history throughout his career with RISK (including “Ratman”), RUNNING WILD (including “Black Hand Inn”, “Masquerade”), and GRAVE DIGGER (including “Ballads of a Hangman”) - bandleader and guitarist Jack the Riffer now has a living legend by his side.

There has also been a change behind the mic: from now on, Swedish vocalist Mike Stark - who currently sings for the Argentinian band FEANOR and the Swedish group STORMBURNER - is setting the tone. His powerful, high-pitched yet dynamic voice gives the new tracks an absolute seal of quality.
GENERATION STEEL stands for authentic, traditional, '80s-influenced heavy metal, combining the styles of ACCEPT and JUDAS PRIEST.

The ten neck-breaking tracks on the band's third full-length album were produced by Piet Sielck (IRON SAVIOR), who has previously refined classics by GAMMA RAY, GRAVE DIGGER, HEADHUNTER, STORMWARRIOR and BLIND GUARDIAN.
The cover artwork, designed by Gyula Havancsak (who has also created artworks for POWERWOLF, ACCEPT and BLIND GUARDIAN, among others), is equally eye-catching.

Anyone who loves honest, traditional German metal will quickly embrace “Steelmachine”, because the quintet not only takes us back to the '80s, but also shows just how timeless true metal is. Ten home runs, including the four singles “Steelmachine”, “Witches Cross”, “Wings of Fire” and “Fields of Pain”.
Stay Metal – Stay Steel!"

Trumpeter, rapper and sonic wanderer Pan Amsterdam has carved out one of the most distinctive voices operating at the intersection of jazz and hip-hop today.

Pan Amsterdam is a musical enigma wrapped in an enduring riddle. His creator is a jazz musician from Houston who’s found fame working with Detroit punk rock God, Iggy Pop, and British indie royalty, Metronomy, and now makes shapeshifting, adventurous hip hop out of the music’s spiritual home, New York.

He’s an irreverent character born out of frustration and named after a misunderstanding, yet one who’s on the verge of releasing his fifth album of truth-slaying, genre-crossing rhymes and beats. The result is a catalogue that feels both deeply rooted in Black American musical tradition and completely untethered by convention.

Pan Amsterdam returns with ‘Panarama’, his fourth full length album and a bold reassertion of his hip hop identity, released via Def Pressé. Created by Houston-born, New York-based musician and composer Leron Thomas, the record finds Pan Amsterdam embracing the harder edges of his sound while continuing to blur the lines between jazz improvisation, abstract rap, punk attitude, and experimental production

Written as a response to contemporary life and the endless cycle of information, conflict and distraction that defines modern culture, ‘Panarama’ unfolds as a stream of consciousness journey through hyper-normalised realities. Across sixteen tracks, Thomas navigates social commentary, personal reflection, absurdist humour, and cultural critique, delivering his observations with the same spontaneity and freedom that have become central to the Pan Amsterdam project

Lead single ‘Szechuan Beef’, produced by acclaimed collaborator 1FS, serves as one of the album’s defining statements. Built around Thomas’ signature free-flowing delivery, the track explores the overwhelming nature of contemporary life, where domestic conflict, social division, entertainment scandals and political discourse become flattened into a constant stream of content.

In Thomas’ own words: “My stream of consciousness style comes quite naturally to me due to the conditioning of scroll down culture where everything, no matter how minor or extreme, is hyper normalised.”

Elsewhere, the track ‘Vanilla Ice’ was written in response to widely publicised ICE killings and the speed at which tragedy is absorbed and forgotten within online culture. Thomas channels the anxiety and emotional disorientation of endlessly consuming information, allowing his thoughts to unfold in real time as social commentary collides with everyday digital noise. The result is both deeply personal and sharply observational, reflecting the fragmented reality of modern life. Other album highlights include the cinematic, Interpol-esque opener - ‘Old Friend’ complete with shimmering guitar lines and an far-reaching introspective, no-filter vocal as Thomas teams up with Nick Zinner (Yeah Yeah Yeahs) and Brad Truax (Interpol) across multiple tracks, often the production traverses left-field indie territory, but always maintaining Pan Amsterdam’s unique musical identity throughout. For the hip hop purists and beats lovers there are plenty of riches to discover from the clever nostalgic sample flips of ‘Cutlery’, the sleepy lofi of ‘Shuriken’ and the wonky LA beat scene / early Flying Lotus era beats of ‘Drunken Noodles’ - all boasting quick witted lyricism. ‘Deep Fried Shiney Things’ explores early electro and industrial sonics while album finisher is an upbeat new wave / indie band cut which sees Thomas take a break from rapping, but of course never letting up on the sharp observations nonetheless


While his previous record explored more alternative territory, ‘Panarama’ marks a deliberate return to rap, as Pan Amsterdam explains:

“I just wanted to do a rap album again.I enjoyed making my last album, but I felt like rapping again. I like to have the freedom to move in between musical worlds that suit the current state I’m in. Frequency accommodating frequency.”

This philosophy runs throughout the album. Tracks move effortlessly between jazz-inflected arrangements, experimental beats, punk energy and underground hip hop aesthetics, allowing ideas to evolve organically rather than conforming to traditional structures. Thomas describes himself as an improviser first and foremost: “I think like an improvisor. That’s how my albums pretty much move. It’s improvisation.”

Featuring additional contributions from Spice Programmers, AnOtter and Mr. Shn, ‘Panarama’ presents a wide-ranging cast of collaborators while remaining firmly rooted in Thomas’ singular creative vision. The record embraces contradiction, humour and unpredictability, capturing fleeting thoughts and observations with the same freedom and spontaneity that define jazz improvisation itself.

A musical enigma wrapped in an enduring riddle, Pan Amsterdam has built a reputation as one of contemporary music’s true outsiders. The project emerged from frustration, experimentation and artistic freedom, with Thomas drawing equally from his background as a jazz musician and his collaborations with artists including Iggy Pop and Metronomy. Operating from New York while carrying the spirit of Houston’s musical heritage, Pan Amsterdam has developed a distinctive voice that sits comfortably between avant-garde jazz, underground hip hop and experimental music.

Reuniting with Def Pressé for ‘Panarama’, Thomas explores what he describes as the more hardcore side of his artistic identity:

“They let me do anything and everything I wanna do so long as it’s on audio, and I need that freedom. What may verbally be perceived as vulgar to one group of people may be very thoughtful and a poignant description of the times that we’re presently in, so I’m glad that I’m part of a label home that understands that.”

After a long-awaited break from the format, Smokin’ Sessions returns to vinyl with a very special limited-edition pressing of Rowl’s Signal EP.

Since launching in 2007, Smokin’ Sessions has built a reputation for deep, bass-driven music and a vinyl catalogue that has become an important part of the label’s history. After quite some time away from pressing records, SMOKE046 marks the label’s return to wax — presented on limited-edition transparent blue vinyl.

At the centre of the release is longtime Smokin’ Sessions and Deep Heads artist Rowl, returning with four cuts rooted in the deep 2-step, garage and bass sound that has defined both his own productions and the label over the years.

Opening the record is Versa & Rowl – “If You (Rowl’s Grey Skies Remix)”, a weighty reworking of an unreleased Versa & Rowl dub. Raw, swung drums, deep sub pressure and a distinctly old-school UK garage atmosphere run throughout — a sound described in early feedback as a “future retro garage classic” with that early deep dubstep / 2-step crossover feeling. The remix has also picked up support from Mat The Alien, BunZer0, Deep Tempo and Richard Dorfmeister, amongst others.

“Signal” follows — a heavy, stripped-back 2-step roller built around swinging drums, commanding low-end and Rowl’s unmistakably deep production style. The track represents the classic Smokin’ Sessions sound while pushing it forward with the precision Rowl has developed over more than a decade of production. The track has received strong DJ support, including J:Kenzo, who called it a “Great track”, Synkro, BunZer0, Mat The Alien and others.

On the B-side comes “Sierra” featuring Bristol lyricist and vocalist P.A.B MC. Written and recorded together in Bristol, Sierra takes things into warmer territory: chilled two-step garage rhythms, dubstep-weight low-end and an almost astral atmosphere underpin P.A.B MC’s melodic, conscious vocal delivery. It sits somewhere between soundsystem music and reflective storytelling — equally suited to a late-night system or headphones.

Early response to “Sierra” has already included Synkro, who described the track simply as “Killer”, alongside further underground DJ support.

Exclusive to the vinyl is the instrumental version of “Sierra”, giving the full production room to breathe and making this pressing an essential version of the EP for DJs, collectors and anyone wanting to hear the depth of Rowl’s production without the vocal.

Rowl first appeared on Smokin’ Sessions in 2011 and has remained closely connected to both Smokin’ Sessions and Deep Heads ever since. His catalogue includes collaborations with Versa such as Lunar, Jupiter and Solstice, alongside his 2013 Cosmic Visions EP. His music has previously received support from Don Letts on BBC Radio 6 Music, Tim Parker on NTS, Synkro and J:Kenzo.

For the physical release, no corners have been cut. The record has been vinyl cut and mastered by Beau Thomas at Ten Eight Seven (Ten Eight Seven Mastering) — one of the most respected engineers in UK bass music and someone whose experience with low frequencies and vinyl makes him the perfect choice for a Smokin’ Sessions pressing.

To kick off our 5th year party celebrations the label begins its new set of releases starting with the joined forces of Regal86 and IMOGEN. The artists contribute two tracks each to the four track vinyl alongside remixes of each other's work, meeting at sonic crossroads.

The EP journeys through rave nostalgia filled with warmth and hope for the future, recollecting some favourite memories of the dance floor.

The A side is fast, driving with a sense of longing for the Halcyon Days and the offline times of partying when things felt easier. The release opens with ‘One Night In 1992’, IMOGEN’s nostalgic ode to an earlier rave era, built around a vocal recollection of her mother’s experiences on the dancefloor in the 90’s. Raw, hazy and deeply personal, it sets the tone for a record rooted in memory while remaining firmly in the present. Regal86 follows with ‘Rush’, bringing a different energy to the record. Driven by rolling rhythms, playful movement and a strong sense of groove.

The B side takes a more optimistic turn looking into the future with dubby aquatic pads and euphoric breakdowns, carrying a feeling of forward motion. There is a lightness to the tracks, a sense of joy running beneath NC Station and keeping the momentum locked whilst turning inwards on the final track, IMOGEN’s ‘Midnight At Bret’ rounds out a release that moves naturally between nostalgia, propulsion and the shared language of the dance floor.

As the next release launches, IMOGEN takes wigs on tour for a five year special run of shows starting on release at Tresor for a two club take over following with further cities: London, Milan, Dublin and more.

Celebrating the 30th anniversary of its original release, Night Song returns in a special edition on rose leaf green coloured vinyl. A Grammy Award nominee, the album captures the extraordinary meeting of the legendary Nusrat Fateh Ali Khan and Canadian guitarist, producer and composer Michael Brook, whose atmospheric soundscapes provide the perfect setting for Nusrat’s ecstatic, transcendent vocals.

With Nusrat’s legacy continuing to reach new audiences following the landmark 2024 release of the unearthed archive recording Chain of Light, Night Song remains one of the defining cross-cultural collaborations of its era. This anniversary edition includes a printed inner sleeve with updated liner notes and photographs.

Inspired by the ska and reggae sounds crossing the border from Belize, the Mexican band Ely Combo was among the first in the country to incorporate Jamaican rhythms into its repertoire in the early 1970s. This single brings together two funk classics—Isaac Hayes’ ‘Shaft’ and the dancefloor favorite ‘Express Yourself,’ originally recorded by Charles Wright & The Watts 103rd St. Rhythm Band—reimagined here as two explosive reggae tracks.

A remarkable anomaly within the Latin American music scene of the 1970s.

"Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."

Gold Nugget Vinyl, limited to 400 copies. "Firebreather formed in Gothenburg in 2016, rooted in crushing, sludge-doused doom from the very beginning. Never wavering from that commitment across all three of their incendiary full-length releases, the trio has pursued weight with purpose, not as spectacle, nor as an exercise in excess, but as the only language broad enough to hold the emotional reach and sonic heft of their sound. The music arrives in a way that writes itself with no distance between the words and the sound; they rise from the same cursed ground, and that honesty has become the band's defining force. Firebreather is a band that never postures or asks to be admired for their heaviness- and to see them live is to experience exactly why. Their weight takes on another life entirely. The band's towering tone and consuming grit don't fill a room so much as alter it. Volume presses against the body before the first lyric lands and riffs arrive like shifting earth. The drums don't drive the songs forward; they anchor them while the line between sound and physical force begins to disappear. Years spent crossing Europe and North America have only sharpened that purpose, and a decade on with a fourth album on the way via the notorious Heavy Psych Sounds Records, Firebreather remains exactly where it belongs. Head down. Volume up."