Cerca:audio drive

Audiojack and Kevin Knapp return to Crosstown Rebels with their ‘Get It’ EP. Out on 22nd May 2026, the longstanding collaborators serve up a heavyweight two-tracker on Damian Lazarus’ imprint.

Leeds-born, Ibiza-based duo Audiojack reunite with US mainstay Kevin Knapp for their third Crosstown Rebels collaboration together on 22nd May, adding to 2021’s impressive ‘Under Your Skin’ EP and 2017’s ‘Implications’ EP. Having spent two decades at the forefront of the scene, the Gruuv bosses’ blend of house, minimal, and garage influences has landed on labels such as Hot Creations, Solid Grooves, 8bit, and more. Meanwhile, house music stalwart Kevin Knapp continues to push his own chunky and vibrant take on house music via international performances at venues such as fabric, Circo Loco, and Elrow, as well as releases on labels like Cuttin Headz, Repopulate Mars, Desert Hearts, and his own Plump Recordings. Marking their return to Damian Lazarus’ iconic imprint once more, they serve up two punchy cuts that showcase their ability to balance attitude and authority into a house workout.


“Get It,' is all about momentum! A driving club track with a mantra-like vocal to lift you up and motivate you to go harder at whatever you’re doing in life.” - Audiojack


"I'm just enamoured with the concept of being in charge of our own destiny and the thought of getting out of things what you put into them. I feel like this record sonically presents those sentiments in a way I love and appreciate.” - Kevin Knapp


Title track ‘Get It’ is a rolling floor-focused cut, driven by a tightly wound bassline and rattling cowbells, while a brooding low-end foundation sets the stage for Kevin Knapp’s commanding vocal drops, elevating the cut into a full-throttle peak-time weapon. On the flip, ‘This Frequency’ is an equally potent club tool, built around an unfolding tracking groove and a wobbling melodic synth line, propelled by an electro-tinged bassline that steadily draws listeners further into its spell.

**LIMITED 500 UK COPIES ON BLACK VINYL** VINYL ONLY RELEASE for RSD: Rival Consoles, UK producer Ryan Lee West, shares his original score for MindsEye, the highly anticipated narrative-driven game from Build A Rocket Boy, the studio led by visionary game director Leslie Benzies. The industrial techno score doesn’t just accompany the game, it’s embedded in the code of the world they have created together. The full score sees its debut on vinyl for the first time as a limited-edition Record Store Day 2026 release.

Set in Redrock, a sprawling desert metropolis ruled by surveillance and automation, MindsEye follows Jacob Diaz, an ex-soldier haunted by fractured memories. As his personal mission escalates, he’s forced to navigate a world shaped by rogue AI, militarized tech, and a fragile grip on control, all while confronting the truth about his past. "In MindsEye, sound is a critical storytelling layer, from ambient detail to emotional drive, every element is designed to shape how players feel inside the world," said Craig Conner, audio director at Build A Rocket Boy. "Rival Consoles’ tracks brought something truly special to that vision. Ryan’s music adds a distinct emotional charge and texture that elevates key moments. It doesn’t just accompany the game, it sharpens its edge, deepens its atmosphere, and perfectly complements the world we’ve built." The score was produced over the span of three years in his London studio, and contains some of West’s most ambitious and heaviest compositions to date.

To coincide with today’s release of the game, the 10-track score is now available to stream in its entirety. MindsEye follows West’s previous scoring work, including bespoke music for 2019’s Black Mirror episode Striking Vipers, featuring ‘I Love This, I Love You’, 2022’s Netflix feature doc El Caso Figo about the legendary football player Luís Figo, and Alexander Whitley’s contemporary dance production Overflow, which was released as a studio album with the same name in 2021. The most recent Rival Consoles album, Landscape from Memory, was released in July 2025 to critical and fan acclaim. A world tour continues into mid-2026.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
Copyright Control
2025 Fresh Meat Records

AMBASSADE ventures into the world of Manrira - a dark, alluring feminine presence that confronts systems driven by value, profit, and power. Emerging from dystopian structures, Manrira exists in the liminal space where organic and digital forces collide, merge, and mutate. This new audiovisual work is devoted to the enchanting acoustics of the human voice and its relationship to bodies, architectures, and shifting environments. At the heart of Manrira is the human voice - alive, breathing, and full of presence. It flows like a living instrument, shaping space and emotion. Manrira explores the voice as resonance, as body, and as spatial event. Manrira moves from dynamic song compositions into extended structures, blending live bass, neo-classical elements, ethereal vocals, drum machines, breaks, and techno-driven textures. The result is an immersive experience that invites the audience to listen closely and reconsider their connection to sound, space, and their surroundings.

*** Special edition on yellow flame colored vinyl. Comes with a poster and stickers *** AMBASSADE ventures into the world of Manrira - a dark, alluring feminine presence that confronts systems driven by value, profit, and power. Emerging from dystopian structures, Manrira exists in the liminal space where organic and digital forces collide, merge, and mutate. This new audiovisual work is devoted to the enchanting acoustics of the human voice and its relationship to bodies, architectures, and shifting environments. At the heart of Manrira is the human voice - alive, breathing, and full of presence. It flows like a living instrument, shaping space and emotion. Manrira explores the voice as resonance, as body, and as spatial event. Manrira moves from dynamic song compositions into extended structures, blending live bass, neo-classical elements, ethereal vocals, drum machines, breaks, and techno-driven textures. The result is an immersive experience that invites the audience to listen closely and reconsider their connection to sound, space, and their surroundings.

Bruno Berle is a singer, songwriter, producer, multi-instrumentalist and figurehead of a contemporary Brazilian music movement. With a quiet mastery of songwriting and an astonishing voice, his music has won hearts around the world. Since the release of his debut album No Reino Dos Afetos (2022), Berle has performed across the UK, Europe, Japan, South Korea, and China, only leaving his home country for the first time in 2023. Shaped by these journeys, Berle’s third studio album, Sem Fronteiras (Without Borders), reflects a utopian vision of a unified world.

Recorded across London, São Paulo, Minas Gerais, Germany, and Maceió, the album–co-produced alongside his longstanding musical partner Batata Boy–is the most expansive canvas Berle has worked on to date. Shot through with the imagery that has always animated his songwriting: open skies, morning light, vivid colours and the magic of human connection, Berle’s carefully crafted poetics and warm, delicate instrumentation drive this vivid body of work.

“I came from nothing”–Berle doesn’t take his rise to global prominence for granted.

Born to a working class family from Brazil’s northeastern Alagoas state, one of Brazil’s most economically deprived, Bruno moved frequently in his youth to follow any job opportunities his parents could find, before eventually settling in the coastal capital of Maceió. “I used to travel to Caruaru, Santa Cruz, Recife, Garanhuns, Arapiraca, which I loved and feel it made me ready to be in this rhythm i’, but at the same time I think not having friends from childhood and being in constant change made me a little numb to the constant upheaval”. On Sem Fronteiras, there is a similar duality at play. The album celebrates the collective joy and human connection that live touring brings, but it also sits with the darker realities of crossing borders. While music moves more freely around the world than ever before, our bodies are not granted the same privilege.

Though he’s never lacked self-belief, Berle recognises that talent alone doesn’t guarantee opportunity. “Before my second album No Reino Dos Afetos 2 everything I had ever recorded was made with the help and kindness of people who believed in my ability”. Determined to pay that kindness forward and help others from the sharp end of Brazil’s desperately unequal society, Berle produced and featured on the recent self-titled albums by his northeast Brazilian compatriots, Nyron Higor and Phylipe Nunes Araújo (both 2025), helping propel both onto the international stage. In turn, following the successes of Nyron & Phylipe’s albums alongside his own, Bruno finds himself at the forefront of a thriving community of artists now based in São Paulo, but primarily originating from northeastern states like Alagoas and Pernambuco.

Much like the famed Clube Da Esquina movement that spawned in 1970’s Minas Gerais, they operate with a free-exchange of ideas, writing songs with and for each other, performing on each other’s albums and on the live circuit together. Lead single ‘Manha’ flows from this ethos. It was written by Berle’s friend and fellow Alagoan João Menezes (writer of ‘Ate Meu Violao’ and ‘Te Amar Eterno’ from Bruno’s previous albums) and Marvin Viera, and originally recorded on their 2018 album Areia e Mar.

Sem Fronteiras opens with ‘Você Já Sabe Que Eu Te Amo’, just six beats of one nylon guitar chord ring out before changing key, paving the way for the gentle strike of fender rhodes and the arresting call & response duet between Berle and Higor. On ‘Amor Inteiro’, the album reaches a celebratory burst of catharsis, with the punch-packing drums of Pedro Lacerda and Nina Maia’s joyous backing vocals encapsulating the live energy that Berle and his band bring to the stage.

With the abundant talents of this musical community at its heart, Sem Fronteiras releases 10th July 2026 via Far Out Recordings, supported by a summer tour across Europe. Bruno Berle will perform in a four-piece band alongside Nyron Higor, Phylipe Nunes, and Batata Boy, culminating in an appearance at Roskilde festival, Berle’s biggest live show to date. He’ll continue to carry a hopeful vision of a world where artists and musicians can move as freely as their music flows.

Tracklist:

A1 “Você Já Sabe Que Eu Te Amo”
(Nyron Higor / Bruno Berle)
Nyron Higor – drums, bass, acoustic guitar, electric piano, synthesizers, vocals
Bruno Berle – piano, vocals
Batata Boy – piano
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A2 “Não Posso Viver Sem Você”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Bruno Berle – drums, bass, synthesizer, vocals
Jorik Bergman – score preparation and conducting
Klara Gronet – violin
Ségolène de Beaufond – violin
Cristina Ardelean Montelongo – viola
Ilektra Stevi – cello

A3 “A Noite de Estrelas”
(Nyron Higor / Bruno Berle)
Nyron Higor – synthesizers
Bruno Berle – bass, drums, vocals

A4 “Outra Noite”
(Bruno Berle)
Nyron Higor – drums
Bruno Berle – acoustic guitar, bass
Felipe Berle – congas
Lucca Francisco – guitar, vocals

B1 “Amor Inteiro”
(Bruno Berle)
Pedro Lacerda – drums, choir
Nyron Higor – bass, choir
Batata Boy – guitars, organ, electric piano, choir
Nina Maia – choir
Bruno Berle – guitars, acoustic guitar, congas, vocals

B2 “Ideias Mágicas”
(Batata Boy / Bruno Berle)
Heloisa Alvino – trombone
Batata Boy – synthesizers, beats, electric piano, organ, bass
Bruno Berle – synthesizer, vocals

B3 “Vim Dizer”
(Batata Boy / Bruno Berle)
Batata Boy – electric piano, organ, synthesizer
Thomas Stankiewicz – synthesizer
Nyron Higor – synthesizer
Bruno Berle – acoustic guitar, bass, vocals

B4 “Tô Assim”
(Bruno Berle)
Bruno Berle – acoustic guitars
Batata Boy – synthesizer
Nyron Higor – bass, synthesizer

B5 “Manhã”
(João Menezes / Marvin Silva)
Bruno Berle – acoustic guitar, vocals, congas, shaker
Batata Boy – piano, shaker, electric piano, vibraphone, synthesizers
Nyron Higor – drums, bass

B6 “Sem Fronteiras”
(Bruno Berle)
Filipe Mariz – guitar
Bruno Berle – acoustic guitar, vocals, bass
Jennifer Souza – vocals, acoustic guitar
Rudson França – drums

Credits:

Produced by Bruno Berle and Batata Boy
Mixed and mastered by Bruno Berle, Batata Boy and Felipe Berle

Audio engineering:
Nyron Higor (track 1 – production; track 4 with Felipe Berle)
Joe Osborne (tracks 7 and 9)
Victor Gelling (strings on tracks 1 and 2)
Filipe Mariz (track 10)

Photography: Claudio Virgínio
Design: Minchai

Recorded in:
Maceió, Alagoas, Brazil
Tamandaré, Pernambuco, Brazil
Belo Horizonte, Minas Gerais, Brazil
São Paulo, São Paulo, Brazil
London, England
Cologne, Germany

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

Newly remastered version of Oren Ambarchi’s long out-of-print classic Hubris originally released on Editions Mego in 2016. Expertly remastered by audio wizard Joe Talia who worked with the original mixes, highlighting the myriad details of the audio with forensic precision, previously unheard up until now.

From the 2016 press release:
Hubris continues the exploration of relentless, driving rhythms heard on Ambarchi’s Sagittarian Domain (2012) and Quixotism (2014). Where those records looked to Krautrock and techno for their starting points, the sidelong opening track here begins from the perhaps unlikely inspirations of disco and new wave, drawing particularly from Ambarchi’s love of Wang Chung’s soundtrack to William Friedkin’s To Live and Die in L.A. Leaving behind the song-forms of these reference points, Ambarchi weaves a sustained and pulsating web of layered palm-muted guitars from which individual voices rise up and recede, eventually setting the stage for some lush guitar synth from Jim O’Rourke. Arnold Dreyblatt collaborator Konrad Sprenger contributes overtone-rich motorized guitar, pushing the piece into a satisfying intersection of shimmering minimalism and rhythmic drive that smoothly builds up until the entrance of Mark Fell’s electronic percussion in its final section.
After a short second part, in which Ambarchi, O’Rourke and crys cole pay tribute to the skewed harmonic sense of Albert Marcoeur with a track built from layered guitar figures and abstracted speech, the long final piece pushes the concept of the first side into darker and denser areas. Joined by electronics from Ricardo Villalobos and the twin drums of Will Guthrie and Joe Talia, the layered guitars of the first piece are transformed into a raw and tumbling fusion-funk groove that calls to mind early Weather Report or even the first Golden Palominos LP. As this stellar rhythm section rides a single repeated chord change into oblivion, a series of spectacular events emerge in the foreground: first, aleatoric synthesizer burbles from Keith Fullerton Whitman, then slashing skronk guitar from Arto Lindsay, until finally Ambarchi’s own fuzzed-out harmonics take center stage as the piece builds to an ecstatic frenzy. Few artists could hope to include such an incredible variety of collaborators on one record and still hope for it to have a unique identity, but Ambarchi manages to do just that, crafting three pieces that emerge directly out of his previous work while also pushing ahead into new dimensions.
Players: Oren Ambarchi, crys cole, Mark Fell, Will Guthrie,
Arto Lindsay, Jim O’Rourke, Konrad Sprenger, Joe Talia, Ricardo Villalobos, Keith Fullerton Whitman.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.

Presenting Deyjavoo Volume One - A compilation of neverheard-before tracks from four iconic artists/collaborations.

These tracks were pulled from old computers, long-lost hard drives and DAT tapes almost forgotten. A very special collection indeed. The music comes from the legendary Lance DeSardi & JT Donaldson, Audio Soul Project (Mazi), Jacob London and Ilija Rudman & Richard Littler. A reminder of the timeless magic of music and its refusal to never grow old. This project is brought to you by Bizarre Trax.

Skip Audio Records returns with a vinyl-only VA, bringing four cuts from artists shaping the underground edge. Pressed to wax, this is a collection built for selectors who chase depth, texture, and weighty grooves.

DubTape opens with a massive, low-slung bassline, rolling dub-infused minimalism straight into the sound system. Techu follows with tight, percussive rhythms and subtle details that push the floor into late-night momentum.

On the flip, Fraxa delivers stripped-back hypnosis, layering sparse textures and evolving grooves into a pure after-hours weapon. Closing the record, Paolo Driver injects his acid-electro energy—snaking 303 lines, sharp analog hits, and swinging minimal motion that hits the peak-time sweet spot.

Vinyl only. Undercurrents only. Four tracks built for selectors who feel the weight, not just the sound.

A great name. A great cover. And - of course - outstanding library music.

Soul City Orchestra's Meal Ticket houses titanic funk, mellow groove and symphonic disco-soul.

Released in 1977 on Rouge, a subsidiary of the prestigious and long-established British library label Music De Wolfe, Meal Ticket was crafted by the studio band Soul City Orchestra (a pseudonym for the De Wolfe in-house composers Chris Rae & Franck McDonald).

The driving instrumental funk-rock of the A Side is enhanced with strings and no little drama. However, it's undoubtedly the peerless flipside that makes this record an essential part of any collection.

Head straight to highlight "Chamber Maid"; insistent, conga-driven funky rock with lashings of string-heightened drama. It's sophisticated, classical and deeply classy.

The majestic, powerfully emotive "Sore Head" contains an excellent intro drum break and sultry slo-mo disco breaks throughout. It's low-key stunning. With a few melodic switch-ups, it's symphonic soul heaven and is comfortably the best and most beautifully crucial track on Side A.

The breezy, Philly soul-tinged "Short Change", its intense strings reminiscent of the Salsoul Orchestra and TSOP, presents an easy-glide funk that's just irresistible.

The funky, cool and slick AF "Wheeling And Dealing" is laconic flute and string-propelled sophisticated mid-tempo disco soul. It's worth the price of admission alone.

The breezy, mellowed out disco-funk workout "The Jam" is a deliciously slinky and sophisticated soul strut. Try not swaggering into the club with this in your head next time you venture into the murky world of "the night". Just ace.

The crowning glory is the sweeping, sublime symphonic disco breaks of horn-infused "Soul City Drive", an absolute monster of radiant heavy soul-funk à la Barry White with great string & brass arrangement.

Basically, this is essential for all groove-aficionados.

The audio for Meal Ticket has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

InDepth Imprint launches its debut release with a forward-thinking V.A. bringing together UFO95, Hadone, Raar, Initial Code and Clara D. The label focuses on bridging avant-garde sound exploration with club-driven functionality. This first release is built on audio material recorded during a collaborative residency at Willem Twee Studios, using its unique collection of mid-20th-century scientific instruments repurposed for music. Each artist was invited to explore their own creative path, resulting in a highly distinctive record where experimental textures meet precision-engineered techno. The outcome is a coherent yet diverse sonic statement that sets the artistic direction for InDepth Imprint: immersive, concept-driven and deeply connected to contemporary club culture.

Possibly one of the best Mental Groove releases to date. Symbols & Sacrifice is raw, beastly, and savage — a cinematic and esoteric journey from the depths of Sindaco’s universe. A masterfully crafted experience across four sides, this release blurs the lines between ritual electronics, hypnotic repetition, and uncompromising raw techno. A powerful and immersive statement, pressed on audiophile-grade vinyl for full heavy sonic impact.

Under the name of Sindaco is hidden a complex yet mysterious project where different styles and cultures live together.Obscure kraut rock, no wave, black metal and Detroit techno collide in what can be considered songs more than simple tracks. All is played by Sindaco with analog equipment without the help of computers. All is driven to create the best soundrack possible. The idea is to avoid all the typical cliches of the contemporary electronic productions and push the boundaries into a new way of tropical futurism. Be involved by the unespected waves of sounds coming from another world!

Opsin- the new collaborative alias of longtime friends and producers Keydell and Kincaid - announce their debut LP on wax, Through The Wall, from London-based record label Hypnic Jerks.

Artist Info:

Opsin is the debut project between artists Keydell (Liam Keydell Myers-Cook) and Kincaid (Joe Arthur). The Pair have previously released on the following labels: Well Street Records, Banoffee Pies, Redstone Press & Bliss Print.

Both have extensive work in sound design and collaborated on the soundtrack for Mithridate at London Fashion Week 2024. Kincaid also produced the soundtrack for Alexander Whitley's Anti-Body Ballet.

Release Info:

The album is named after the birthplace of its creation. Sharing files between bedroom walls during COVID-19. Keydell's meticulous Ableton-based resampling of found audio and modular synth racks, and Kincaid's Reaktor-driven synthesis in Logic.

Draws on a wide spectrum of electronic influences the album infuses elements of rave, techno, industrial and ambient sounds, whilst never quite landing in any specific genre.

Second release from London label Hypnic Jerks on 4 sides of 180 gram vinyl, in a gatefold sleeve designed by Jacob Wise and mastered by Rashad Becker.

A followup from their first release - Toumba's debut physical release 'Rosefinch', which saw later releases from Hessle Audio and Nervous Horizon.

CODEWISE ...the secret inner knowledge of unlocking pure underground DNA DRIVETRAIN - Rachel A dark and aggressive odyssey morphs into undeniable Detroit abstraction BLAKTONY - Alternative Homework Mind expanding deep-tech, erogenous to audio consciousness BJIKA - House On The Hill An alluring atmosphere with a sizzling mood of insatiable sound JESUS GONSEV - Cosmic Sand Galactic acid showers delicately pad a luxuriant sonic landscape

Best known for his cinematic jungle excursions, Seb Uncles returns to Livity Sound for a second extended release of introspective electronics with a strong influence from mystical sources.

As Eusebeia, Uncles has developed a strong, independent presence in modern electronic music defined by a prolific run of deep-diving, breakbeat-driven albums and EPs. In 2022 he released Cosmos on Livity Sound, a mini-album that zoomed out to a more reflective strain of electronica shaped by atmospheric synth lines in the hauntological vein of Ghost Box, Pye Corner Audio et al.

The Wyrding Way finds Uncles delving even deeper into this area of his output, keeping drums to a bare minimum and focusing instead on powerful melodic lines. There are still considered soundsystem moments that connect with Livity's long-standing sonic focus, not least the subtle dub inflection of EP centrepiece 'By The Light Of The Moon'. Elsewhere Uncles leaves the melodic parts unaccompanied, letting the phrasing and emotional pull of the title track tell its own story.

Balancing light and dark elements and drawing inspiration from personal experiences and perspectives, combined with spiritual and existential observations, Uncles capitalises on the evocative streak in his studio practice to deliver a timeless, immersive experience unlike anything else in his considerable back catalogue.
Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

KinAhau returns to Crosstown Rebels with expansive new single ‘Under the Flowerpot’, featuring Luke Cusato. Backed by a cosmic, synth-driven remix from Perel, the release lands on the label. After debuting on the label with his remix of Airrica’s ‘Hi Speed Lover’ last year, surging wonderkid KinAhau steps forward with his first full solo release for Crosstown Rebels. ‘Under the Flowerpot’ captures a moment of raw honesty and transition for the young Mexican artist, revealing a more expansive, song-led direction in collaboration with UK vocalist Luke Cusato.

The single was born during a turbulent period, written in the wake of a panic attack shortly after relocating to Rome. That sense of fragility and release runs through the record, pairing Cusato’s stirring topline with KinAhau’s widescreen production to create a cut that blurs the lines between club energy and confessional songwriting. For the remix, Damian Lazarus welcomes Perel to Crosstown Rebels. A unique voice within the electronic landscape, crafting her own lane with a genre-blurring approach, her remix is chugging, synth-led, and infused with a signature retro-futurist touch, channeling cosmic energy and slow-burning tension for dancefloors that like things deep and driving.Now 22, KinAhau’s journey has already taken him from handing Solid Grooves founder Michael Bibi a USB disguised as a trash collector to playing at DC10, Fabric, Space Miami and Mayan Warrior. His breakthrough collaboration ‘Different Side’ with Bibi and Audio Bullys carried his name onto global stages, while his 2024 mixtape comprised of old demos, drafts and edits revealed a more confessional, unfiltered edge to his sound. Yet ‘Under the Flowerpot’ feels like a deeper statement, one rooted not in hype but in self-exploration.

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

Over the last ten years, Brazil’s Millos Kaiser has cultivated a reputation as a top-ranking selector passionate about bringing his home country’s underappreciated music to the world. After starting as a punk and indie musician in Niterói, Rio de Janeiro, he turned his hand to DJing in the late 2000s and relocated to Sāo Paulo. There, he spent the 2010s rocking city squares, warehouse parties and street parties with DJ Trepanado in the Selvagem duo before cofounding the celebrated Selva Discos label in 2017.

Since 2019, Millos’s focus has shifted to his solo DJ career and ventures as an edit maker, reissue compilation curator, audiophile bar co-owner, and now producer. Planet Trip Records has been very good friends with Millos for a long time and is very pleased to present his first original release, the Te Quero Perto (I Want You Close) EP, available in vinyl and digital formats.

Assembled like a DJ-friendly 12” for late 20th-century nightclub specialists, Te Quero Perto kicks off with Millos’ original ‘club mix’ and an accompanying ‘instrumental’ version (digital.only). Driven by an uptempo machine beat straight out of the mid-'80s, rave pianos, 303 acid bass, and an explosive Brazilian pop vocal sung by Juju Bonjour, it’s an absolute belter of a tune and a masterclass in in-period styling.

Elsewhere on the EP, Millos’s European friends Lipelis & Orion Agassi turn in an equally belting Latin Freestyle remix in vocal, dub and instrumental mixes (instrumental is digital only). Rounding things out, fellow Rio de Janeiro producer Paco Cabana throws the tune into a cocktail shaker before pouring a sunkissed, percussion-heavy reimagining for us to sip on. Front to back, it’s an all-killer, no-filler debut from a generational talent.

Shipwrec have delved into the underbelly of electronics for their latest discovery. Fake Youth Cult is the brand new project of Richard van Kruysdijk, an artist who has been integral to the Dutch music scene. Following releases on Delsin, as well as founding his own Music for Speakers label, this latest undertaking explores the darker hues of Kruysdijk's audio creations. Across six tracks, a realm of shadows and steel is constructed. From the murky tones of "Visitor" to the industrial and blackened "Scorched", a towering sound of punishing percussion looms over the listener. Techno is central message. Despite this, the piercing coldness of electro rises in the incising and stark "Messing." The influence of punk comes to the fore in racing rhythms and lean strings that make up "Smear." BPMs drop in the slow burning EBM stained "Management." The machines take control for the finale. A relentless kick is the motor that drives this seven minute juggernaut to the close. Broad and brutish brilliance from a prodigious talent.

“Pulses and Resonances” is Rene Lorenzo’s debut album on Subtempo. This album represents a culmination of more than 20 years of electronic music exposure as a DJ and a clear point of view. We can hear influences of broken beat, techno, drum & bass, all through the unique lens that Rene brings to the table, deeply steeped in ambient, deep techno and downtempo. Even though this isn’t a dance record, it’s filled with energy and drive. It is an out-of-the-ordinary album, with intricate shifts and turns with well-crafted kick drums, round bass lines and enveloping subs. A record filled with warm sounds, head-nodding rhythms, and rich textured spaces. It’s all woven into an easy-listening experience, without demanding the listener’s full attention, but creating a landscape that is unique and varied throughout. We can hear references to artists like Boards of Canada, Jan Jenilek, Synkro and the like.

“In this record, every track has a different pulse or rhythm, and I use different resonators in the sound design process to achieve these tones. I started by leaving the space open with the ambient pads and hardly any rhythm, and I’d let myself be carried away by my sense of rhythm slowly building the compositions. I am obsessive with audio processing and I almost never leave a sound in its initial form. I like to add some subtle effect that sounds like something different and give new sounds to the elements I use.”

“Pulses and Resonances” is out via Subtempo on vinyl and digital on February 2nd.

Korean artist and musician Jin Won Lee (이진원), otherwise known as Gazaebal, began his career in New York. Working as a sound engineer, alongside such illustrious artists as the Wu-Tang Clan and Janet Jackson, led him to develop a keen ear for dexterous audio design, melodic flair and catchy rhythm. But his true interest lay in uncovering the unique textures and synthetic qualities of electronic music. From the late 1990s to the early 2000s, Gazaebal focused on developing himself as a producer, synergising a uniquely potent take on club music, releasing three albums and appearing on numerous collaborations.

An established figure in the realm of contemporary art, Jin Won Lee is well-known for his hybrid, highly technological practice. In 2008, together with Jang Jaeho, he formed The Tacit Group, a collective for computer-coded art. Presenting works that manipulate audio and visuals in real-time through programming, the group has performed at the FAMS Choice selection, Lincoln Center in New York, at the Seoul branch of the Museum of Contemporary Art and the Sejong Center for the Performing Arts, among many others. As a solo practitioner, he initiated in 2023, a project that examines sound as abstracted vibration. brings together Jin Won Lee’s decades long investigations into sonic experimentation and the physicality of noise.

Outside the avant-garde, Gazaebal has enjoyed mainstream success, collaborating with Big Hit Productions founder and BTS songwriter Mr. "Hitman" Bang on remixes and arrangements for K-POP albums. They also formed the two-man group Banana Girl, with Gazaebal focusing on composition while Bang handled vocals, achieving a big hit with their 2000s track ‘Butt.’

Another crucial figure in Gazaebal’s life is his wife Nine who operates as his agent and business partner. Initially released in 1999 on Nine’s independent imprint dmstrax, the titular track ‘Talk’ first appeared on techno@kr, a compilation CD of Korean electronica. Together, they co-founded G Records, which was partly absorbed into Bighit Entertainment in 2005. Appearing as the inaugural record on Bighit, the original version of 'And So On' – featuring Bang’s vocal production – was not available for re-release due to licensing difficulties. But thankfully the multitrack was well preserved. Utilising these components, Nawon Ha (AKA Korean-but-Amsterdam-based artist Naone) re-imagines the song for Betonska Records.

A combination of un- and self-released material, Talk is an album that firmly belongs to the millennium while sounding utterly outside of space and time. A cosmic trance trip that draws on rock’s steely drive, wiggy acid basslines and warbling dub, the record is presented as a mix-friendly mini-album, with the 6 tracks ideally tailored to DJ-level quality and loudness. As much suited to the psychedelic rave scene of yesteryear as they are to present-day dancefloors, Gazaebal’s productions are defined by his idiosyncrasies. Melding the sheen of tight production and pop sensibilities with a flagrant DIY spirit, his music assuages the high-commercialism of the 2000s, resulting in a style that’s as definitely punchy as it is precise

“Owelle”: frenchified word derived from the English expression “Oh well”. Repurposed by Valérie Siron as her pseudonym to reflect her work ethos: serious, but without making a fuss.

Surfacing from Geneva’s club culture with a graphic design background, Owelle’s drive to synergise the audio and the visual power her expression of creative identity. Her compositions are imagined and built without boundaries, albeit replete with nods to previous genres ranging from early 2000s breakbeat, braindance and broken beat techno.

Intrigued by sensory immersion, Owelle further laces her art with interactive tools including programming, sound spatialisation and installation. Diving into a spatiotemporal journey, subtly incorporating their uses into her musical works. By blending her passion for diligent sound designing, field recordings and psychedelic vocals is how Owelle presents her approach to experimental music. Owelle’s creativity offers an intrinsic connection of her tailored rhythms and melodies to birth an original hybrid of sound and visual art.

The music within this record questions the importance of sound in relation to the individual’s environment. To blur the border between noise and aesthetically pleasing. To ride the waves between discomfort and delight and to find the potentially hidden role of situational awareness and relating it to musical endeavours derived from the emotions within.

Empress Enigma:
The contradictory language of speech, rhythm and melody generate this musical paradox.

Drivetrain (Detroit, USA)
It Can Never Be The Same (Parts 1 & 2)
Deep and moody, Part 1 is driven by a captivating bass groove with lush, silky pads constructing a mesmerizing wall of sonic euphoria. The vocal hook echoes the commentary with one simple phrase.
The stripped down Part 2 replaces the drums with hand percussion while Drivetrain shows off his bass guitar chops charismatically with an emotional solo throughout.

Rennie Foster (Vancouver, CAN)
Guiding Light
A ghostly banger, poised in atmospheric essence. Shifting layers of sound harmonize to the unyielding bass line as Alejandra Garcia sprinkles vocal seasoning on top.
I Haven't Forgotten
Built on the foundation of a rock-solid bass progression, the ambience of melodic strings and piano blend an audio sedative accompanied by an airy vocal presence and bits of acid integration.

This mini album was originally published on Semantica Records in 2010 as a extremely limited 100 copy only reference. 12 years later we recover this for the Drivecom’s catalogue and fans of the label. This is a re-press edition with a new mastering and cutting, focused in the audio quality more than trying to get a maximum volume or gain. So this is one of the reasons that the side A cutting is trying to keep the tracks in the outside area of the vinyl in the most possible way, trying to avoid distortions or other artifacts from the inner vinyl curvature.

This 12” contains the same tracks on vinyl as the original edition but a couple of bonuses as a digital download. Those tracks called "Axonal Destruction (1999 Rework)" and "Automatic Reconstruction" were never released.

Note: For the people who purchase a physical copy in the shops, please take a picture of your purchase and share it on social networks, then we’ll send you a special download code.

In the musical ­eld, this reference was introduced with minimal and repetitive mental synth lines, mainly triggered from TB303 sequenced lines as the vertebral spinae, slow and progressive cadence rhythms with a touch of experimental electro and vocoders on board, exception is the ­rst tittle “Ultralink” which gives the name to the reference and it’s also the most club-oriented track in the mini album. About the thematic is all surrounded of such as mental driving musical lines so all the tittles were focused in the neuroscience

BEC returns to Second State with another earth-shattering release containing four raw & atmospheric cuts.

The Berlin by way of Brighton producer BEC has been a member of the Second State family since her first release with the label in 2016. Since then, BEC has dropped 4 EP’s with the Berlin imprint, and regularly appears at the likes of Awakenings, Amnesia, Warehouse Project, Fabrik, Watergate & Burning Man to name a few.

Title track ‘Solitude’ opens with a sharp, rounded kick and crafty drumwork. Metallic swipes and rave stabs are injected to build tension, along with a choppy vocal and bubbling element. Punchy arrangements and rave stabs bring this track to rave territory at moments, before hauling back into the deepness of the cut. Next up is ‘Process Don’t Resist’, easing us in with a crackling bass and a solitary hi-hat, soon joined by buoyant claps and a muffled kick that submerges listeners into a different dimension. Darker, swiping elements are introduced with metallic textures, with the claps becoming more erratic as the track unfolds. An indiscernible vocal gives way to a jarring breakdown halfway through, sending shockwaves through the listener before submerging back into the hysteria.

‘Coming’ follows and initially appears as a break from the heaviness of the previous productions, before transforming into a high-octane stomper. A booming kick, bleeps and spiking vocal build the intensity as the track drives forward and hoover noise wavers menacingly. The vocal and kick bounce in unison towards the close, with a final cry towards the end. The finale is dark, mysterious and entrancing with ‘Fear Parade’. An authoritative female voice utters ‘not afraid’ under a myriad of shakers, howls and vicious synth swipes. The sample gradually takes over with the track building to crescendo, allowing shakers to come to the forefront along with eerie howls and a new, more robotic vocal that utters the initial phrase repeatedly until close in an effort to encourage listeners.

Crisp, freshly distorted & pulsating techno trips; Nous'klaer proudly presents Mary Lake's debut EP Askim. The rising dj/producer from Amsterdam steps up with three brilliant uptempo techno rollers and a blissful ambient excursion as epilogue. Four tracks that perfectly reflect her infectious enthusiasm and energy. On top of that, there is much more to come from Mary this year, both on Nous'klaer and elsewhere. Artwork courtesy of Sammie Straub.

Austrian Ken Hayakawa keeps up Stripped Down Records' fine run of form with two new tracks that get remixed by John Tejada and Whitesquare.

Hayakawa's mother is Japanese but he hails from Salzburg. He is formally trained in piano and has performed Beethoven's music in a number of prestigious venues. That melodic, minimalist style still informs his own output and over the last decade has come on the likes of Audiomatique and Upon.You.

Superbly soothing opener 'Sonic Wave' is a brilliantly warm and spaced out deep house track that voyages into the cosmos. Dreamy pads drift by as muted acid lines flesh out the supple, subtle drums. It's a late-night groove to really get lost in.

American tech house titan and long-time Kompakt associate John Tejada steps up to remix and takes things even deeper, with pulsing, sonar-like acid blips and icy hi hats all working on melting your mind as warm, gurgling bass drives things forwards.

It is Italian producer and DFTD, 2020 Vision and Freerange house master Whitesquare who then remixes. He brings plenty of spine-tingling chords to his version, which is deep yet driven, with layer upon layer of rich sound all oozing real soul.
Hayakawa then finishes things off in style with 'Lost,' a brilliantly atmospheric track that is cavernous, dubbed out and finished with exquisite ambient details that cannot help but calm you.

This is a beautiful EP of deep, dynamic house music.

A unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy"
(Jack Dangers, January 2024). 'Extinct' sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20 minute opener 'FLAKKA' takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process. 'Burner' takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, 'Extinct' is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don't sleep on this one! (Todd Robinson / Subunit) Composed, recorded and produced November 2023 - January 2024 by Jack Dangers and Masami Akita.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.