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TERRANOVA are hardly a new name on the scene. FETISCH, its
leader has lived on the international nightlife circuit since punk took
over London.

After the grand success of Brother's 'Hidden Depths' LP last year & Madmen & Poets 'Scandinavian Sunday' early 2010 Fokuz stumbled upon another hidden talent. Hailing from a unusual place is Command Strange.. He is probably Kazakhstan's first dnb producer at the moment. Yet not bound by borders or boundaries it's the music what counts here at Fokuz and Command Strange is seriously one of those producers who you'll need to keep your eye on.

Lowfish originally released his 'Burn The Lights Out' LP in 2007 on the US label Satamile but we have found some copies of it in the warehouse. Synth-pop meets breakbeats in an electrifying fusion of emotive melodies and bass-heavy beats across all four sides of the long player with ten then-new tracks and two classics from his Sat.31 EP. They all show that his music, complex yet accessible, evokes images of Blade Runner, Wave Noir, or William Gibson. It is post-modern in approach as it skilfully blends past and present styles to create a sound uniquely his own, seamlessly bridging the gap between eras while pushing the boundaries in his own way.

George Faith comes together with the maestro Lee ‘Scratch’ Perry to present

• I’ve Got The Groove
• Midnight Hour
• Diana
• To Be A Lover

Scratch’s most soulful production during the Black Ark years.

Produced at the tender age of 14 and 15, The Ghost Of Rico Puestel Jr.
showcases and strengthens his passion for Trance again!

BLUE & WHITE COLOUR IN COLOUR VINYL

In the culinary arts, it’s easy to overcomplicate the final product. Theme, presentation, texture…they’re important but should work to complement the raison d'etre of any food. At the end of cooking a dish, it should taste good and feed people. Some dishes, like barbeque or provoleta, resist the tendency towards hollow showmanship. One of their expressions can be more or less aesthetic, but the first purpose is to be simple and tasteful. Argentinian provoleta goes so far as to blur the line between ingredient and dish. It relies on the inherent flavor of provolone being heated at the right speed for the perfect amount of time. You can add garlic or chives or red pepper to the slice, but ultimately they serve to bring out an essence that’s already there.

Los Angeles’ Cousin Feo has developed his rapping acumen in the five years since releasing Provoleta, but returning to the project today shows that he always had the penmanship, grit and delivery that christens an emcee worthy of remembrance. Like the bubbles rising up in the appetizer that is the album’s namesake, Feo showed that true profundity is found in the simple gestures.

Since dropping the project in 2019, Cousin Feo has expanded his vision of a world where hip-hop and football, two proletarian art forms, mingle in creative and compelling ways. He has collaborated across multiple continents, chronicled football histories, aided in canonizing legends, kept the flames high in age-old rivalries and constantly forced his audience to search for the last time they heard bars this hard. In anyone else’s hands it would be too great a task.

The maturity he showed on Provoleta wasn’t nascent, it was an inherent quality forcing itself to the surface. The songs refract his experience as a working class Angeleno through the archetypes of Argentinian football legends. The kernel that unites the two worlds is hustle. When Feo was coming up, missteps had greater consequences than crashing out in the group stage and street deals had the weight of a Boca-River Plate match.

Each track uses slightly different ingredients to let Feo’s underlying talent shine. “Maradona” feels salvific, fitting for a football legend canonized from the Andes to the Alps and a Los Angeles rapper looking to inspire similar hope in the neighborhoods that raised him. On “Di Stefano” Feo massages the instrumental with the same composure of the late forward, until he pierces through the headphones like one of Di Stefano’s arrows. It’s also refreshing to hear a song celebrating Messi before his meme-ification, focusing on the universal truths contained in his footballing talent instead of using number 10 as a stand-in to make a point in a fruitless argument. And he still finds space to show deference to Batistuta, Kempes and other members of the Argentinian pantheon who’ve been erased from the popular imagination by the national team's contemporary success.

Real ones know that true players, true rappers, and true artists will always stand the attacks of time and consensus. In Provoleta’s first verse, Cousin Feo says he moves with the hand of God. Maybe one day he’ll tell the whole truth and let us know how he was able to wrestle the pen away too. Limited edition of 300 hand-numbered copies.

DJ Support: Phil Mison (Cantoma/Ambala), Charlie Bones (Do!You!!!), Frank Booker, Trujillo, Alice Palace, CIAN, DJ Aficionado, No Plastic, Jad & The, Leon D, Moe, Sadeedo, Longboss (Strangelove), Tom Kutsche, Marian Tone, Andy Pye (Balearic Social), Soft Rocks, Wrekin Havoc, Alfresco Disco, Manuel Darquart, Tom Bolas, Danny Russell, Craig Christon (Passport to/Beyond Paradise)
Many Hands - Basement Versionz #2, continuing from #1 with further excursions into Basement Balearica. From Bunker to Beach: Wiggy Dread Italo, Rebel Disco Reggae, Thai Boogie Funk and freshly creased 80s Steppers to help clever selectors get out of, or into trouble.

Finally repressed. The only legitimately licensed anthology of the Iranian Psychedelic rock legend. 28 page full color booklet with an extensive, first-person treatise by Kourosh himself. 21 fully restored tracks from Kourosh's original master tapes. Contains rare photos and ephemera of Iran's 70s rock scene, many never before seen. Now-Again Records is proud to present Back from the Brink, the only legitimately licensed collection of the godfather of Iranian psychedelic rock, Kourosh Yaghmaei. Known within the Iranian diaspora simply by his first name, Kourosh's Pre-Revolution recordings were thought lost after Islamic fundamentalists took control of Iran. They weren't: Kourosh had protected them - along with key ephemera from the 70's. Their collection here - spread over 3LP bolstered by Kourosh's first person recollections of Iran's 70s rock scene and its death after the Revolution, tells the story of an immensely talented artist's desire to persevere in the face of terrible adversity. Kourosh Yaghmaei and his brothers Kamran and Kambiz were amongst the few inspired Iranian musicians determined to change Tehran's musical landscape in the late 60's and early 70's. The trio, armed with rented, second-hand instruments and records by The Ventures, The Kinks, The Doors, merged Western garage rock, psychedelia and Iranian folkloric music to create a sound unlike anything that came before them. Later, inspired by the unlikely duo of Elton John and James Taylor, Kourosh's music took a sophisticated turn, and he churned out funky, progressive rock that is as imminently enjoyable as it is impossible to categorize. His star on the rise was knocked off course by the Revolution, and its backdrop of Islamic fundamentalists burning record companies and harassing musicians. But while most Pre-Revolution musicians - including his brothers - fled Iran in 1979, Kourosh stayed, loyal to the country of his birth. He has suffered a performance and recording ban for twenty-two out of the last thirty-two years. Yet he remains stoic and resolved to continue bolstering Iranian musical tradition. Kourosh still lives in Tehran and is pleased that his story - and his glorious 70s recordings - will finally spread the world over. This essential piece of Iran's musical history is also accompanied by a full color book and contains never-before-seen photos and ephemera.

Accomplished trumpeter, composer, bandleader and educator, Kamal Abdul-Alim has been actively involved in creative music for decades. He has toured Africa, Europe, the Caribbean and the United States. He has recorded with all kinds of bands, large and small, and performed in festivals all over the world. “He takes the postbop of the 50s and free-form jazz of the 60s and turns it into an even balance of fine textures. Alim, who is highly underrated, has one of the most beautiful tones and concepts of jazz. A master of improvisation, he knows the art of weaving different ideas, whether they stem from Manhattan’s lower East Side or Europe” (Hugh Wyatt, New York Daily News). “Dance” was recorded in 1983 but first released on vinyl in 1987. Rhythm section includes drummer Idris Muhammad. Original pressings are extremely rare and expensive. “Brotherhood” is a much sought after track on the jazz dance scene. There is a high demand for this title again on vinyl and pressings are limited to 1000 copies, all individually hand numbered.

Repress!

Deluxe Edition of PDM's massive Exotica LP features 2 x Purple Vinyl, 2 x Printed Inner Sleeves in Embossed Gatefold Sleeve with A2 Poster includes full Exotica album plus 3 bonus tracks: “In The Dark” with Sophie and the Giants “Rise” featuring Tasita D’Mour “Twisted Mind” featuring Agnes. Limited Edition.

Back in stock!


Back with a new EP and featuring 2 of Detroits finest vocalists, Jon Dixon brings the Detroit Jazzy House style he’s known for. L’Renee and Kenny Watson both bring their unique voices to Jon’s masterful production and Jimpster, also lends a hand with an incredible remix. The Vocal sessions Vol. 1 is the first EP featuring some of Jon’s favorite vocalists. This is Hi-Tech Jazz at its finest.

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!

Limited edition DIY tape manoeuvres, hand stamped with unique variant covers.

Sounds for meditation and other activities.

“Onomatopeikoa II” follows on from Irazoki's 2017 Gitarra Onomatopeikoa release, and that album's sense of untethered, questing curiosity is not only carried over but expanded upon even further here. Combining a fully committed approach to the guitar with an almost egoless lightness of touch, this album builds upon the already impressively scopious range of Gitarra Onomatopeikoa to dizzying effect.

Irazoki makes full use of an impressively broad palette. Yet nothing feels forced, nothing is for show – there’s just a sense of open-hearted generosity.

In lesser hands such a whirlwind tour of style and form might risk failing to get its hooks in deep enough, yet not only does Irazoki have the imaginative scope to tackle these varying approaches to the instrument, he has the technical chops to pull it off. Each composition seems to have an openness of intent that is utterly disarming; all cards are on the table and nothing is held back, resulting in a creative tour de force that builds, piece by piece, to a unifying cohesiveness that makes the whole far greater than the sum of its parts.

Featuring contributions from long-time OTO favourites Rhodri Davies and Raphael Roginski,

“Onomatopeikoa II” is nevertheless unmistakably a work of singular craft and vision.

FFO: Jeff Parker, Loren Connors, Keiji Haino

Limited edition vinyl of 250 copies

presented by Hegoa with a cover designed by Pablo Mirón.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

Hot psychedelic jazz groover and hand-drawn artwork strictly limited and only on vinyl!

Limited Edition of 1,000 Hand-Numbered Units on Ruby Red Vinyl. Includes never heard before audio and lyrics printed on heavy board inner sleeves!

40 years later - and still no one does it like this. We’re celebrating the unstoppable legacy of one of hip-hop’s most iconic collaborations: Doug E. Fresh and Mc Ricky D (now globally known as Slick Rick) “La Di Da Di" along with the pop dance tune "The Show."

From its very first breath, this track reshaped sound, style, and storytelling — a cultural moment that became a timeless movement. Decades on, its influence is everywhere: sampled, quoted, reimagined — but never duplicated. “La Di Da Di”and “The Show” didn’t just belong to an era — they created one.

To mark this monumental anniversary, the Hip-Hop legends decided to drop a limited 12” 40th Anniversary Edition. The release features the original versions of “La Di Da Di” and “The Show” - plus a rare demo of "The Show" as well as an unreleased street version of "La-Di-Da-Di" recorded live from The Lincoln Projects in Harlem NY) that take you deeper into the sound that started it all with the Get Fresh Crew.

Even in these most turbulent of times, dub musician and fatigued onlooker Elijah Minnelli remains an inexplicable stalwart on the lower rungs of the Breadminster County Council.

His latest record ‘Clams As A Main Meal’ continues his astute siphoning of council funds, this time with help from the Breadminster Board of Abstinence. As a further mark of respect, the original head of the Board, Dr. K'houldoux, graces the cover art in his infamous ‘Looming Moon of Desire’ guise.*

As fine a backdrop as any for Minneli’s off-brand dub experiments, and ‘Clams...’ is the truest representation of his varied wheelhouse yet...

We find vocal appearances from dub goliath Dennis Bovell and Welsh-language singer Carwyn Ellis. A pair of tracks which build on 2024’s acclaimed ‘Perpetual Musket’, a collection of folk songs reworked alongside reggae vocalists, released by FatCat Records. It garnered glowing reviews, with nods from The Guardian and The Quietus concluding with prominent appearances on their respective yearly round-up lists.

Elsewhere, the album finds Minnelli in a more experimental mode, all wheezing contraptions and cockeyed bass, creaking with the weight of creation, a satisfying tactility laid seam-side up.

As well as ‘Perpetual Musket’, the new album follows years of sold out 7" singles, handmade and self-released. Online, the tracks have amassed global streams numbering in the millions. His tracks have found play across an eclectic range of radio mixes and dance floors, most notably the likes of Andrew Weatherall, Batu, Optimo and Zakia Sewell (BBC6Music).

It is perhaps worth mentioning that this everbuilding interest in his work is at great odds with the growing suspicions amongst his fellow townsfolk, who see his Breadminster County Council Music Initiative as nothing more than an empty cash-grab.

Further Reading on the Breadminster Board of Abstinence

In the late 70s, Breadminster was awash with the last vestiges of the hippy era. Though the flared silhouette of the lower leg remained, the utopian ideals that had once flowed merrily around the youth's shaded ankles had begun to wane. LSD and free love had led to a sharp spike in population and a generation of children raised by air-headed psychonauts unprepared for the bleary-eyed strictures of parenthood.

Aware of the crisis, the County Council entrusted Dr. Paulinque K'houldoux to spearhead a pushback, and it was his pro-abstinence movement - a mixture of education initiatives and radical renutrition campaigns - that came to impact Breadminster's census deep into the new millennium.

Being a pseudo-archipelago Breadminster has fundamentally limited resources, however deep-seated ties to distant coastal villages meant that oysters were a regular part of the local diet. K'houldoux pinpointed this as a factor in the town's overpopulation, and believed that simply replacing these with clams (a “lesser mollusk”) would help lower the erotic urges of the people. It was his “anti-aphrodesia” movement that first championed the idea of “Clams As A Main Meal,” and the slogan “Consider Abstinence” carried the message yet further.

The Breadminster Board of Abstinence soon became involved in all cultural happenings in the area, with K'houldoux MCing at prominent festivals and performances, sometimes dressed as the “Looming Moon of Desire” - an idea of his relating to the tide, seafood, menstrual cycles, and his privately held celestial predilections.

It was in 1981 that it was revealed Dr. K'houldoux had never fully qualified as a doctor and was seeking exile in Breadminster due to a series of botched bracelet heists in which he had previously been involved. K'houldoux was subsequently extradited to Basingstoke, where he served 3 of a 12-year sentence, owing to the lunar-oriented prisoner health campaigns he helped implement.

It has been a strange twist of bureaucratic fate that the Breadminster Board of Abstinence has never stopped receiving public funding, despite its lack of clear utility. And while its roots are tied to a rose-tinted past, the Board continues to sponsor cultural events and projects to this day.

An extract from: Eugeniq Schooner's article in Sydney Parishioner: “Clams, Breadminster and Countercultural Abstinence Trends” (2008)

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, will be made available on April 17, 2026 in vinyl & CD formats. An indie-rock record that recalls Allison"s band Swearin" and Katie"s early records as Waxahatchee, Snocaps was born out of the twin sisters" desire to work on music together as they had in their teens and twenties. Allison and Katie are backed by friends and close collaborators Brad Cook and MJ Lenderman. The album was produced and almost entirely engineered by Cook, and all four musicians play multiple instruments across the record. After a handful of shows at the end of 2025, Snocaps will be put on ice for the foreseeable future, although, as Katie says, "Allison and I have been, in some way, shape or form, doing this together for over 20 years," so it is practically a given that they will work together on music at some point again in the future.

Allison and Katie Crutchfield have formed a new band called Snocaps. Their 13-track debut album, released digitally as a surprise, will be made available on April 17, 2026 in vinyl & CD formats. An indie-rock record that recalls Allison"s band Swearin" and Katie"s early records as Waxahatchee, Snocaps was born out of the twin sisters" desire to work on music together as they had in their teens and twenties. Allison and Katie are backed by friends and close collaborators Brad Cook and MJ Lenderman. The album was produced and almost entirely engineered by Cook, and all four musicians play multiple instruments across the record. After a handful of shows at the end of 2025, Snocaps will be put on ice for the foreseeable future, although, as Katie says, "Allison and I have been, in some way, shape or form, doing this together for over 20 years," so it is practically a given that they will work together on music at some point again in the future.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Back in stock !

First three releases in Ministry Of Sound's new 'Origins Of' series of vinyl releases. Taking it right back to where it all began, Ministry of Sound’s Origins series charts a selection of pioneering records responsible for shaping the sound of modern day dance music. It’s hard to imagine a world without House; this 2x LP release explores the origins of the genre from its early beginnings in 1980s Chicago presenting some of the key building blocks of a sound that went on to change the world. Featuring, Frankie Knuckles&Jamie Principle, “Steve” Silk Hurley, Marshall Jefferson, Farley “Jackmaster” Funk, Ron Hardy, RalphiRosardo, Joe Smooth and many more.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

In the vibrant, post-millennial landscape of independent hip-hop, few collective names commanded as much respect as the Living Legends. A monumental alliance of some of the West Coast's most respected solo artists—including Murs, The Grouch, Eligh, Aesop, Bicasso, Luckyiam, Sunspot Jonz, and Arata—the crew's 2008 album, The Gathering, served as a powerful declaration of their unity and enduring relevance.

The Gathering was a snapshot of a legendary crew working at the peak of their collaborative power. The project masterfully weaves together the diverse styles of its eight members, moving effortlessly from the conscious storytelling of Murs to the soulful, introspective flow of The Grouch and Eligh, and the abstract lyrical dexterity of Aesop. The production, handled largely within the collective, provides a lush, sample-heavy, and distinctly West Coast soundscape that perfectly complements the lyrical fireworks. Tracks like the anthemic title track "The Gathering" and the legendary posse cut "After Hours" showcase the organic chemistry that made the Living Legends a seminal force in underground music.

For the first time ever, this pivotal album is being officially pressed on vinyl. This highly anticipated Record Store Day 2026 release finally delivers The Gathering to the format its rich, soulful production has always deserved. This limited edition pressing is presented on striking Coke Bottle Clear Vinyl, a perfect visual complement to the album's crisp, refreshing sound.

A crucial artifact of independent hip-hop history, The Gathering on vinyl is an essential addition for fans who have supported the Living Legends for decades and a must-have for vinyl collectors looking to own a tangible piece of the era's best crew collaborations. Don't miss the chance to own this definitive, first-ever vinyl pressing of a true underground classic.

PICTURE DISC VINYL LP: with a CD of exclusivbe REMIXES, Printed Lyrics Insert, Hand Screeened Art Print, and Signed Photo Postcard.

Guests is the home recording project of Jessica Higgins and Matthew Walkerdine. Vaguely named as such to avoid any problems with the poster if they pull out of a gig (which has only happened once, about a year and half before any songs were actually written to be fair) but also to capture a sense of reverse hospitality. That is, arriving at your door with a bottle of good wine (can’t turn up empty handed) or a fist full of savoury or sweet snacks (time of day dependant); oversharing at the afters (and then passing out on your couch); reading to your toddler while you make their lunch or put everything back where it was meant to go (only to get torn apart again). So, something about what happens when private worlds meet each other, making or having been made a space for. But at times, it’s a different kind of intimacy, a temporal or material one, like the feeling of crisp fresh sheets, and abundant and soft, body-part appropriate towels in a hotel in a city you’ve been to before and love to go back to.

Their debut record, “I wish I was special”, was variously described as “a collage of concrète experiments and outerzone pop gestures, music that sounds as if it’s been written from the depths of a dream”; “music for people who love music but also hate it too”; “something like chasing ghosts or befriending a wild animal”; “pulling apart nervous sensations with haphazard ease and requisite humour”; and “a melody of refusal, of being all-in (…) finding the exact right WRONG sound to express the discontent”. Common Domestic Bird continues in this vein, layering synthesiser, keyboards and samples over rudimentary drum rhythms and field recordings, which are in turn sung or spoken with to create nine new songs.

Written and recorded between autumn 2024 and summer 2025 in Reading, Berkshire, the music has matured since its last outing, in a way, leaning less into collage and more toward structured composition and melodic depth, yet retains a healthy dose of indeterminacy and off-kilter rhythms for the forever-amateur. The songs on Common Domestic Bird hint at some “about”-ness through a series of discrete vignettes which sound a bit like architecture or end of year lists, gossip or over-thinking subjectivity, like disappearances and impressions, the support structure of the spine, letters and signs offs, things you could really do without and where they should go, hoping you’ll see something that isn’t there, pretences and performance. At times they feel kind of funny, others kind of sad or a bit angry and annoyed, a bit like you really.

Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Mit Buddha-Bar XXVIII öffnet sich erneut das Tor zu einer Welt voller Eleganz, Sinnlichkeit und globaler Klangfarben. Die legendäre Compilation-Reihe, die längst zu einem internationalen Lifestyle-Phänomen geworden ist, präsentiert mit diesem Kapitel erneut einen Mix, der die Balance zwischen elektronischer Finesse, weltumspannenden Melodien und tiefen Chill- und House-Vibes meisterhaft hält. DJ Ravin, seit Jahren prägende Sound-Signatur des Buddha-Bar-Universums, führt Hörer:innen mit sicherer Hand durch eine Reise voller Atmosphäre und subtiler Spannung. Jeder Track reiht sich wie ein Mosaikstein in ein großes Ganzes ein - perfekt geeignet für entspannte Abende, stilvolle Lounges oder Momente der Entschleunigung. "Buddha-Bar XXVIII" steht exemplarisch für die besondere Kunst dieser Serie: Musik als Erlebnis, als Raum, als Stimmung. Eine Einladung, abzuschalten, einzutauchen und die Welt für einen Augenblick in warmen Farben zu hören.

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

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

The album presents seven tracks:

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

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

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

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

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

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

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

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

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

Following two 12-inch singles released via the self-run label Plastic & Sounds, which launched unexpectedly this past July, the culmination of their work to date—the album Silent Way, comprising ten tracks—will be released on 27th March as a coloured vinyl 2LP (gatefold sleeve/33RPM/limited press) and digitally.

Mastering and record cutting by Rashad Becker in Berlin. The artwork centres on photographer Yusuke Yamatani's work, with Satoshi Suzuki—who handles all P&S releases—constructing the overall aesthetic.
Last October, they appeared on Resident Advisor's popular series “RA Podcast”, with audio from their world premiere live performance in April 2023 released. They held the “Plastic & Sounds” label launch party at Shibuya. In January 2026, they performed a live set of their acclaimed album “Haet” at the venue's New Year's party.

This release comes amidst growing international acclaim, with their previous album ‘Discipline’ featured in Pitchfork's ‘The 30 Best Electronic Albums of 2025’, and one of their signature tracks, ‘Butterfly Effect’, selected for RA (Resident Advisor)'s ‘The Best Electronic Tracks of 2000-25’.