Buscar:b real

Across twelve original compositions, Ludwig traverses a broad sonic landscape, each track threaded together

by a signature touch that feels unmistakably his. Opener ‘Three Cases Forty Years’, alongside ‘E-Trinity’ and

‘Dieper en Dieper Goes Portugal’, highlights his singular take on dub techno, while ‘This I Didn’t Know’, ‘Practice

All Their Life’ and ‘Metropolixer’ drift into more textural, exploratory electronica.

Elsewhere, Ludwig leans into the raw, stripped-back aesthetic he’s long celebrated for on ‘Come to The End’,

‘Starlab Translate’, ‘Ill Progressions’, ‘Go Real Cloudy’ and ‘Things Are Moving’, before closing track ‘Galaxie C’est

Boom’ surges forward with a percussive, driving house energy primed for the dance floor.

Collecting Orders For 2025 Repress

Backing it up can mean so many things. According to the urban dictionary, it means to carry on drinking the next day in spite of a rather large one the night before. According to Apple, it means to take your I-phone and attach it to an I-pad or Apple Mac - and copy the information to the cloud. Or the device. But in music.....what we mean is basically this....."Damn......that was a big hit......how the hell are they going to emulate that success on the next one."And it's hard for so many reasons. Was it luck Timing That one in a million sample With all the pressure, soon the artist can start second guessing themselves........and that's when backing it up becomes a real problem.But not for our boy PURPLE DISCO MACHINE. If BODY FUNK, his last outing on CLUB SWEAT, wasn't one of THE biggest songs of last year, from Ibiza to Miami and back again.....played by every single DJ under the sun, from BLACK MADONNA to JAMIE JONES to your mama......then I'm not sitting at my lap top writing this shpeel....which I'm very sure I am. AND I'm going to back myself (see what I did there) - and say that DISHED (MALE STRIPPER) is the best way to back up a hit ever. With another hit. Doesn't sound the same....doesn't worry about what the last one did...just does what it does.....which to be honest - is GO OFF!!!! It builds and builds and builds and......In the same way that BODY FUNK masterly made the sum of 2 disco songs bigger than their parts had ever been, this time PDM takes some Italo Disco from MAN TO MAN MEET MAN PARRISH's MALE STRIPPER and mashes it with the aptly named ELLIS D's DISHAPELLA to create a 12/10. Back it up PDM - you are a legend!!!!

2026 Repress

Due to high demand, MEU has revisited two of Mr. K’s classics, previously only available as 12-inch extended mixes, and asked the master editor to pare them down to 7-inch size.

A true top-five peak record at the Garage, Thelma Houston’s “I’m Here Again” was “a highlight whenever Larry played it,” Danny Krivit recalls, “and he played it a lot!” Danny’s edit is a homage to Larry and Frankie Knuckles – in particular a similar private edit that Frankie did back in the day and shared with Krivit. “It was on reel to reel and I didn’t copy it correctly and lost it,” Danny remembers. “Reels were problematic! When I tried to get it again from him, unfortunately he had lost it too.” The song (likely an attempt by Motown to capitalize on the previous year’s monster hit “Don’t Leave Me This Way”) is, in its original form, a virtual retake of Thelma Houston’s breakout single, from the subdued, schmaltzy intro to the “oooh BABY!” leading to the chorus. What sets “I’m Here Again” apart though, is the incredible second half of the song. Naturally, it is here that Mr. K’s edit focuses. Over a vicious groove reminiscent of the Originals’ “Down To Love Town” breakdown (Michael Sutton wrote and produced both “Love Town” and “I’m Here Again”) Houston delivers soul-stirring ad libs as the band crackles with electricity behind her, the piano chasing a descending string riff so eagerly. Pure dancefloor peak energy! And the very first time having all these parts on a 7"!

For our flip, Danny has reached deep into the earliest foundations of his voluminous collection, and come out with a psychedelic pop classic rearranged for today’s sound systems and setlists. Recorded in the Beatles’ Abbey Road studio at the height of the Summer Of Love, the Zombies’ “Time Of The Season” is firmly linked in pop culture to the late ‘60s and the Vietnam era, breaking big in the summer of 1969. Krivit’s edit highlights the parade of lush sonic textures that ornament the hip composition, from the iconic, exquisitely echoed bass-clap-exhale riff that opens the song to the cascading Hammond organ solos of Rod Argent. “It’s a song from my childhood that really struck a chord,” Danny says. “Over the years I often played a rough edit which always seemed to go over great. The song seemed to get better and better, and age like fine wine.” We agree!

These two songs have both appeared on previous (separate) MEU 12-inches, but are presented here in custom new edits for the 7-inch format.

Blending British techno and hyperpop with the Baile Funk and samba of singer Paula's native Brazil, PPJ are considered by British magazine NME to be one of the most innovative bands of the moment.

The double EP "Bloco Vol.1 & Vol.2" tells the story of the band's journey to Rio de Janeiro, far from the postcards we know of Brazil.

"One of the most innovative new names around" NME

"A fascinating and exhilarating blend of neoperreo, techno and electroclash from a group to watch" RESIDENT ADVISOR

"Kaleidoscopic techno-pop" DJ MAG

"A real anti-depression remedy"LINE OF BEST FIT

"Their main goal? To make everybody dance" METAL MAGAZINE

‘It’s hard to find an act as distinctive as PPJ » MIXMAG

This is the very limited marbled vinyl version of the repressed Lords of The Null Lines EP.

Here we have the beautifully remastered Foul Play and Foul Play ft Randall remixes of Lords Of The Null Lines. There is little to say about these definitive classics that has not already been said. You know ‘em, you love ‘em, they are essentials. However, the Danny Styles remixes are perhaps deserving of some explanation. There were created in the early 90s, and were cut, but quickly stopped by Moving Shadow as they were not really official remixes. A few test presses got out, and the result has been these remixes reaching a near mystical status in the passing decades, and the vinyl changing hands on discogs for absurd prices.
So it was with great pleasure that Hyper-On Experience and myself managed to broker a deal with Moving Shadow and Danny Styles to bring these amazing remixes to a legal and official release! It took over 25 years, but they can finally be bought...

The Jack Ruby releases have been some of the most sought after dnb/jungle tracks on Discogs, mastered from the original DAT by Beau and pressed on 180g vinyl, sounding incredible!

made at the Green Room in 1994

BTW - in the rush to get these made in time for The Run Out i messed up the label - I write these out by hand (using an Ipad so its cheating really) and i put the cat number as KR007 and KR008, overlaid a layer or something like that. anyway - my mistake, hold my hands up...

Coming correct with a heavily garnished follow-up to his first drop of neo-junglist delicacies, Skins is back with a second volume of Sauce Direct. The name tells you all you need to know about the school of breakbeat science he's coming from, but the learned craft of drum edits is offset by a mischievous thirst for disruption, presenting the matter on this platter as a stand-out serving on the plentiful menu of modern-day jungle.

'Strictly Hardcore' brings together the heavy weather of quintessential dub techno with deft, stepped breaks for a brooding heads down tear-out while 'Lost In The Sauce' revels in vintage synth melancholia as a unique backdrop to Skins' own brand of rabid Amen chops.

'Reaper's Kiss' switches stance with some heavy sub wobble and the teased flicker of Apaches in a patient half-time roll out of serious soundsystem reverence. There's space for some snappier breaks in the second half, but this cut is testament to Sauce Direct being a space for wider ideas beyond textbook jungle.

'Double Dose' keeps the stylistic dexterity on lock with a swerve towards trance-speckled lead lines, deployed with a necessary restraint to play nice on top of the nimble breaks. It's an approach which could be so easily overcooked - in Skins' hands the balance of flavours is on point, capping off another essential round in this must-check series of white label delicacies for heads with real taste.

"Take Me Up" features rolling chords, pads and uplifting vocals alongside the "Do the Do" break (a break I've always loved). This one came together very nicely, and i often play it in the car while driving down the motorway. Tony and I really enjoying writing this tune. 

"Siren" is a classic Subjects style tune through and through: Stabs, beats, vocals, 808s, and (of course) amen breaks, just how we do it. Nuff said!

Ira James' Vessel Recordings keeps it real with another deep house record from an array of the genre's finest. The Sometimes Dream Sampler is a class affair with an A-side taken up by a superb coming together of Jason Hodges, Eddie Leader and Hector Moralez for the weight, tasty dub version of 'No Oatmilk,' then Wally Callerio brings some fresh rhythms with his synth-infused 'Cause You Know'. Jordan Strong's 'Turn The Tide' lands with a nice bit of hip-swinging funk over rolling bass and Christopher Mohn's 'Move Your Body' rocks back and forth on its heels to hypnotic effect. All in all, a nice fresh take on classic deep house.

2026 Repress

Mr. G, aka Colin McBean, presents a remastered, 23-track compilation entitled 'OG Retrospective'

'The day I found my original studio masters and got my rights back was the starting point, and then I realised it's 25 years on and it's time to recode, remaster and reevaluate because I've never looked back properly. I've always been like a bat out of hell, never quite thinking I'm good enough or great at what I do, but it's important to celebrate, because there's nota lot of people still here, still doing it after this length of time'.

With new masters provided by Simon at the renowned London mastering house The Exchange London, a direct link to the original mastering done by the late-Nilz (Nilesh Patel) from The Exchange, Mr. G's 'OG Retrospective' marks a reflective period in McBean's life.

'All I've ever done is write and move forward, but more and more, I get the new generation sending me videos of my old tracks and sometimes I don't even recognise them, so finally I thought, 'ok, you're comfortable in your own skin, let's really see how you sounded at the beginning, how you've changed, how have the techniques changed'?

It was quite raw going back over these; some of the memories are riddled with pain and angst - friends dying, where I was in my life at the time, having a heart attack and so on. Having a sound, too, can be a cross to bear. You're only ever competing with yourself, your only game is being better than your last game, so if you dwell on the past too much you can't move forward. Getting to the point where I can look back and feel happy, feels good.

Invariably, what will come from this is 'more', because, with my own label I have endless possibilities and will continue telling my story.'

The Temptations Get High on Psychedelic Soul: Cloud Nine Soars with Ambitious Arrangements and Production, Features Standout Vocal Performances and Instrumentation by the Funk Brothers

The Temptations’ Cloud Nine announced that Motown — and “The Sound of Young America” — would never be the same. Influenced by the emergence of cutting-edge rock and pop currents, as well as increasing sociopolitical turmoil, the album broke down barriers between rock, psychedelia, and soul while heralding the arrival of visionary arrangements and production techniques. Bookended by traditional R&B numbers, the 1969 record sent the Temptations in bold new directions and signaled the advent of psychedelic soul.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45PM 2LP set presents Cloud Nine in audiophile sound for the first time on a domestic pressing. This collectible reissue bestows Norman Whitfield’s extraordinary production with the grand-scale dynamics, natural tonality, expansive openness, and low-end weight it deserves. The timbre of each of the five members’ voices is readily identifiable — even within the group harmonies — bestowing a realism never experienced outside the recording studio.

Making its debut on 45RPM, the album further benefits from the wide groove space by playing with greater separation and more realistic presence than prior editions. Everything from the brassiness of the horns to the dry snap of the snare comes across with reference-grade clarity and positioning. And since Motown’s renowned Funk Brothers backing band plays on many of the cuts, you’ll want to savor every note. The imaging, soundstaging, and organic bloom-and-decay of the notes make that possible.

Amid Cloud Nine, the instrumentation and architecture stand out as much as any element. Never before had a Motown album contained such ambitious patterns and complex passages. Seemingly conscientious of the departure from their past methods, the Temptations and Whitfield bunched together the tracks that mark a deep dive into psychedelic territory and counterbalance them with seven sterling soul cuts that dovetail with Motown tradition drenched with heartfelt vocals, swelling strings, and finger-snapping beats.

On the original 33RPM release, traditional Motown soul — laden with heartfelt vocals, swelling strings, and finger-snapping beats — occupies Side Two. These songs reveal an ensemble still very much on top of delivering pristine pop-soul material graced with romantic sweetness, persuasive insistent, and soaring highs. Re-energized after the departure of lead singer David Ruffin, who was fired for a variety of reasons in June 1968, the Temptations seamlessly meld with his replacement, Dennis Edwards, on one melodic gem after another.

The collective tackles five songs co-written by the legendary Motown team of Barrett Strong and Whitfield. Not the least of which are the smooth, shuffling “Why Did She Have to Leave Me (Why Did She Have to Go)” and deceptively simple, horn-spiked “Gonna Keep on Tryin’ till I Win Your Love.” On these tracks, as well as on a lush rendition of the ballad “Love Is a Hurtin’ Thing” and pleading, tender send-up of the Gerry Goffin-Carole King classic “Hey Girl,” Edwards and Paul Williams take turns on the lead with the estimable Eddie Kendricks, Melvin Franklin, and Otis Williams providing backing support.

All five vocalists trade-off leads on the simmering title track, a groundbreaking composition shot through with wah-wah-pedal effects, liquid funk, deep bass lines, Cuban percussion, saturated reverb, and gang choruses. Whitfield mines each member’s natural vocal range with spectacular results, keeps time with cymbals, and channels both the heated temperatures and escapist desires of a society embroiled in war, conflict, and experimental drugs.

Amazingly, the Temptations top themselves on the similarly revealing “Run Away Child, Running Wild.” Nearly 10 minutes in length, the song explodes R&B parameters and harbors a cinematic scope. Urgent pianos, distorted guitars, stripped-down percussion, steamy Hammond organs, minimal bass motifs, five distinct voices narrating the tale of a boy who fled home and now finds himself amid the scary, unforgiving external world: They combine to give the urgent tune a walls-closing-in atmosphere where fear and desperation reign. Bolstered by an extended instrumental section that precedes a climactic return of the singers’ voices, “Run Away Child, Running Wild” equaled the success of the record’s title track, with both reaching No. 6 on the pop charts.

How enduring is the signature song from Harry Chapin’s Verities & Balderdash? So timeless that it became the subject of a 2025 documentary in which artists from multiple generations weigh in on its impact on their lives and craft. “Cat’s in the Cradle” doubtlessly remains the main event on the singer-songwriter’s 1974 album. The legendary opening track also serves as a guidepost for the bold personal and social material that follows — as well as the gorgeous folk-rock arrangements that underpin the New York native’s most commercially successful work.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, housed in a Stoughton jacket complete with a four-page insert, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Verities & Balderdash presents Chapin’s fourth full-length in audiophile quality for the first time on vinyl. Captured during a golden era for sonics and production, the Top 5 effort features remarkable tonal balance, instrumental separation, and organic naturalism. Those valued aspects come into supreme focus on this reissue, which plays with dead-quiet surfaces and a low noise floor.

The newfound clarity, openness, and imaging underscore the lasting appeal of Chapin’s tender deliveries, soulful timbre, and careful phrasing. Every word comes across with incredible realism, while his underrated guitar playing occupies its own distinctive space. Also notable: The extension of the tasteful string accents; airiness of the backing vocals; depth and shape of the spare bass lines; and width and depth of the soundstaging. When on “Six String Orchestra” Chapin calls out names of instruments, they appear like magic, the band performing feet from you. Chapin has never sounded so lifelike on record.

Certified double platinum, Verities & Balderdash resonated with the times and public. “Cat’s in the Cradle” reached No. 1 on the chart on its way to being inducted into the Grammy Hall of Fame. The romantic ballad “I Wanna Learn a Love Song” flirted with the Top 40 and wrapped listeners in the equivalent of a cozy blanket. The record’s other single, the mini-epic “What Made America Famous?,” helped establish Chapin as one of the country’s most incisive and insightful commentators.

Verities & Balderdash teems with situational devices and topical matters. Chapin observes everything from the polarization of the nation to changes in moral standards and cultural priorities. He investigates pressing themes without ever turning preachy or elevating himself above the matters at hand. On “Halfway to Heaven,” whose coda races to the finish and ranks as the most urgent moment on the record, Chapin inhabits the mind of his frustrated protagonist akin to an eagle-eyed novelist.

Conveying emotions that range from melancholic to carefree, Chapin is as much of a singer as a storyteller. He assumes the voice of multiple characters within a single narrative. During the quirky “30,000 Pounds of Bananas,” a tale based on a delivery-truck accident in 1965, Chapin alters his delivery, pronunciation, and diction to become an old man reflecting on the mishap and mess. The tempo, too, adjusts to match the speed of the vehicle Chapin describes.

Adorned with timely laugh tracks to reinforce the bittersweet humor, the stripped-down “Six String Orchestra” takes everything up another notch, with Chapin intentionally missing guitar notes or playing a broken passage to illustrate the failures of the hopeful protagonist who doesn’t have what’s required to make it as an artist.

Chapin, of course, did not have any such problem. The lynchpin of a career cut short by a tragic traffic incident, Verities & Balderdash is Exhibit A of the savvy craft, feeling, and perspective he lent to American music.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

Unlike the main Magic Wand label, the imprint's offshoot 'Special Editions' series is a little more fluid about what it releases, with some EPs sporting original productions - many of which are admittedly sample-heavy - as well as re-edits. That's the case for this second missive from Matsoaka (real name Matt Lundgren). So, while the EP begins with a genuinely gorgeous and Balearic original cut (the dreamy and slow-motion folk-rock of 'Butterflies', featuring the emotive and harmonic vocals of Butterflies), much of the rest falls into the "Balearic re-arrangement" category. In this camp you'll find the immersive, trip-hop style dreaminess of 'Faith', the mid-80s Yellow Magic Orchestra-style Fairlight-sporting electro of 'Gin Yuzu', and the dollar bin brilliance of 'Sheriff' (a take on a Japanese city-pop cover of a reggae favourite).

2026 Repress

For their debut EP on Tectonic, Beatrice M. drops four deep, dubby cuts bringing weighted bass energy together with techno sensibilities and advanced percussive manoeuvres. Elegant but powerful tracks built for sound systems and curious ears!

Midnight Swim is an ode to the “softer” club sounds, repetitive aquatic grooves that remind Beatrice of their go-to sport: swimming. No phones, just back and forth in the cold water, settling into a mechanical groove. The opening track, Oval, carries its title from the appreciation of soft edges, little distortion, minimal rhythmic pattern.

Upon hearing Pinch’s tune 136 Trek, (itself a nod to Zinc’s 138 Trek), Beatrice decided to name a tune 132 Trek, to continue the lineage of their musical heritage. The tune was already called Trek because it was made after moving from France and spending their first months in London, and realising “everything is a bloody trek”!! 

The EP’s title track is about warm-up music and enjoying the earlier hours of the party - a quick immersion and then time for bed, rather than banging club tracks all night long. Beatrice likes to show up early at the club, watch it fill and then leave as it packs out. Midnight Swim is a dip into a roller. 

The last tune of the EP features Sub Basics, the first artist to have a vinyl release on Beatrice’s own label, Bait, and one of their biggest musical inspirations. Sub Basics’ immersive progressive sounds fit simultaneously in the deep techno world and the dubstep world. A beautiful in-between.

Originally from Sicily but living in Basel, electronic composer Marco Papiro confirms his eccentric and multifaceted personality. The sound articulation of his analog synthesizers flows into in an artificial hyperrealism of great thematic and expressive variation. The tracks unfold between ascending cosmic moments, more ecstatic meditative tones, symphonic planetary floods, exotic afrodelic and psycho-andean drifts. Papiro synthesises and converts echoes of acoustic wind instruments (oboe, recorders, bamboo flute), while the percussion lives on its own pulsating reality. The influence of certain folk traditions, as well as contemporary music, also suggests the more acoustic flavor of an ethereal minimalism (for voice and psaltery), making his music a continuous open sea of visions. Cover painting by Anton Bruhin printed on two different colored papers. Co-released with Les Giants.

...Three years ago, we had our first contact with this mysterious being from another galaxy, and since then it has been spreading its AURA and relentless sound to everyone it has encountered. We don't really know where this is all heading, but a strange force pushes us to keep moving forward, spreading the sonic message of ALIEN RAVE in plastic format until it decides otherwise. We have no choice; the expansion continues...

Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums — to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning.

Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth.

Those advantages extend, of course, to the aforementioned “I Can’t Wait,” a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat.” The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen.”

The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar — along with another two dozen or so participants — the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel,” one of Nicks’ standout moments.

“What was it she wanted?” Nicks queries on “No Spoken Word,” continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me,” a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You,” laden with Nicks’ signature mysticism.

Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You,” a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy.

So, rock a little, yes, but dare to feel even more.

Carly Simon’s quietly intense sophomore album comes across like an assertive notice nailed to a telephone pole for all to see. Bold, personal, and autobiographical, Anticipation announces the arrival of an artist who won’t back down. While Simon stands her ground on her eponymous debut, she elevates her passion and persona to heightened levels throughout this gold-certified record, dealing in private matters related to love, relationships, and desire. At times, Simon is nothing short of primal. She reflects on the difficulties of retaining your own identity while also giving yourself to a partner. Simon’s connection to her folk roots would never be stronger.

Sourced from the original master tapes, strictly limited to 3,000 numbered copies, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set of Anticipation lays bare the rich tapestries afforded by the spare blend of soft guitars, mellow orchestration, and dreamy melodies. Audiophiles and record collectors, take note: This is the first time Anticipation has been available on 45RPM. The wider grooves and dead-quiet surfaces prove extremely rewarding.

The rhythmic framework anchored by session pro Andy Newmark’s drumming sounds dynamic and balanced, with songs benefiting from a focused midrange and taut low-end. Simon’s attachment to and investment in each lyric is made evident by way of the intimate, hushed atmospherics and expansive responsiveness. And just as Simon’s vocals feel more transparent and direct, so, too, do the supporting choral arrangements.

Released before the singer-songwriter movement reached full bloom, Anticipation remains remarkable for the high-quality songwriting and Simon’s gutsy stance. The album cover — depicting the vocalist holding the gates at Queen Mary’s Garden in Regent’s Park and seemingly defying anyone to take her on — serves as a metaphor for the content within.

Known for having relationships with high-profile partners, Simon was heavily involved with Cat Stevens leading up to the recording of Anticipation. She draws from her experiences to craft tunes that resonate because of their honesty, realism, and strength. Few of those moments are better known than the Top 20 title track, which Simon composed in just 15 minutes as she waited for Stevens to pick her up for a date. Imbued with the nervousness, tension, and excitement that accompany the moments when a romance could go either way, the Grammy-nominated song presages the feminist-minded vulnerability and burning longing that informs a majority of the record.

On the soulful “Legend in Your Own Time,” also inspired by Stevens, Simon harnesses yearning as a conduit to feel-good paradise. Deemed by Rolling Stone an “absolute clincher, an awesome description of the psychic ravages of gone-nuts, know-nothing love,” her cover of Kris Kristofferson’s “I’ve Got to Have You” moans with no-holds-barred desire and breathtaking sensuality.

For all the wanting Simon pursues on Anticipation, her way of staying in control — vocally and personally — make the record a courageous statement of contemporary femininity. For further evidence, look to the bossa nova of “Summer’s Coming Around Again,” somber “Share the End,” soothing “Three Days,” and sincere “Julie Through the Glass,” a tribute to her young niece.

Simon would achieve international fame with her next album, No Secrets. Yet as this definitive reissue shows, Anticipation suggests the rest of the world was just a little late catching up to her.

It's time to get back to real Electrofunk, Breakbeat and Hip-Hop.
This vinyl bridges the gap between old school and modern sound design, delivering the rawest Funk Architecture.
Two decades of music production by DJ 33 condensed into one monumental 12-inch record.
Eight essential bangers, released as a strictly limited edition of pure, analog-driven vintage sonic art. Here we go.

Funk Architecture is a division of MixCult Records

2026 Repress

Swin delights and surprises with this excellent EP featuring the anthemic “Stay At Home”. You could be forgiven for thinking that this record was produced by the leathery hands of a mature industry professional long-settled in the Ibizan sun, rather than by a friendly northern lad in Newcastle who vaguely remembers seeing sunshine when he was 6. Quality and range beyond his years - Swin is surely one to watch!

2026 Repress

Bogdan Ra is based in the musical hotbed of Lisbon and his excellent What Is A DJ? EP takes its inspiration from the late 80s acid house and Italo, displaying a real mix of vintage charm and contemporary relevance that will strike all the right notes on the dancefloor. From the snappy title cut to the electro rhythms of 'Arroios' via the funky disco rhythms of 'Tonic Glue' and feel good factor of closer 'That's All', this is quality production that will more than stand the test of time

2026 Repress

Jing reveals her third 6dimensions release, here we get an insight into Jing probing and questioning the definitions of realities, transporting the listener through a series of thoughts, images, and sensations, often experienced when the mind surrenders to a dreamlike state.

Jing present’s 'Psychiatric Population’ a four track EP containing Jing's sound illusions, that challenge all forms of genre definitions, Jing further explicate's her work as a true creative .

Selekt Wax returns with its second vinyl offering, shifting the lens from introspection toward motion. Where its predecessor explored stillness and space, Varginha 96 leans into rhythm with a more fluid, tactile energy.

Loopedeville works within a minimal framework but pushes it toward something more animated. Groove takes the lead, while detail reveals itself gradually. The result is playful but controlled, built for movement while still carrying depth beneath the surface.

Inspired by the 1996 Varginha incident in Brazil, the record carries a subtle sense of the otherworldly. Not in a literal sense, but in texture. Unfamiliar tones, slightly off center moments, and elements that feel just outside of reach.

Etched on the sleeve, a poem sets the tone:

the analog moment is now
but, how? release
free form feelings finding
new places in yourself
a sort of synthesis
of interpretations
crash & collide
into the infinite groove of reality
but, is anything really real?

A1 – Varginha 96
A breakbeat driven opener centered on a looping vocal from the Varginha ‘96 incident. Off kilter synth textures circle the groove, giving it a subtle, otherworldly feel. Simple on the surface, with depth that reveals itself over time.

A2 – Varginha 96 (Ohm Hourani Remix)
Ohm takes it into a more stripped back, hypnotic space. Centered around the same vocal, the track locks into repetition and feel. Hazy, controlled, and built for late hours.

B1 – Thunders in Paradise
A driving groove built on dusty drums and a tightly controlled rhythm. It holds a steady pulse, with understated details and shifting textures giving it quiet depth.

B2 – Never Enough
A fluid, late night groove shaped by Loopedeville’s signature swing. Less driving than the previous cut, but still locked in, with warm tones and an easy bounce that carries through.

madness" she whispered as she tried to navigate through an onslaught of people.
She carried a feeling of numbness within her that helped her manage the constant distortion and the all to obvious hypocrisy surrounding her. Mindless wandering after having just survived another day in the trenches was a welcomed exercise in fact she had already begun to dissociate from the commonly perceived reality; entering the one of her choosing. If one was to observe her, a sway to the hips could be noticed furthermore, as if momentarily height on a good thought the woman now strutted around attracting all sorts of attention, from negative to overtly admiring.
All the cages in her mind were artfully crafted with beautiful bars made of gold and the ceilings had their own stars and suns that shone upon them. None of them were locked

Since launching in 2018, Innate has been synonymous with cultured techno and now, finally, we get to hear from co-founder Gilbert with his first full release on the label. overdue. The Bristol producer delivers three originals rooted in electro futurism, deep house emotion and Detroit lineage. 'Passage Of Time' rolls with acid detail and warm chords, while 'We Are All Made of Stars' leans into melancholic melody and gentle propulsion. 'Natural Dimension' pushes outward with driving rhythms and shimmering motifs. The remixes are on point too - Nuron reshapes 'Furthest Planet' into raw, emotive electro, while Apiento and Diego Herrera rework 'We Are All Made of Stars' into hazy, analogue proto-house.

DJ Feedback

Laurent Garnier:
"Ohhh wahouuu this is a brilliant release indeed. Loooove it!"

Lexx (Wavetest):
"Good stuff! Full support as usual. "

Sven Weisemann:
"perfecto =)"

Aroy Dee (MOS):
"Well, that sounds absolutely lovely! "

Cignol:
"That Nuron remix too, holy shit, amazing!"

Colin Dale (Abstract Dance):
"This Gilbert EP is killer! Will be rotating and supporting it for sure."

Gilbr (Versatile):
"Love what I hear..."

Jorge Caiado (Carpet & Snares):
"What a record!! Every track is beautiful and the remixes are sooooo good."

Marco Passarani:
"Some good stuff here mate! Will surely play this out."

Miles Atmospheric:
"Lovely package! Superb music!"

Thorgerdur:
"I really love this release! Amazing tunes :)"

Liferecorder :
"This sounds superb ! Solid productions by Gilbert for sure.."

Ivan Smagghe :
"Great originals and great Apiento/Diego Remix..."

Lovefingers :
"Sounds sick!"

2026 Repress

KiNK & Raredub inaugurate new sub-label Spectra on SHDW's Mutual Rytm, backed by remixes from icon Marcel Dettmann.

Spectra is a new sub-label from contemporary techno powerhouse Mutual Rytm, with the project set to showcase memorable singles alongside feature innovative remixers. The name Spectra reflects the wide range of vibes the label will deal with and the diversity of sounds that emerge through these creative reinterpretations.

Needing little introduction, Bulgaria's KiNK is a synth wizard and live specialist who gets more out of machines than anyone else on Earth. He has dropped endless standout tunes ranging from Running Back to Hypercolour and, more recently, Mutual Rytm with his 'Quantum Shake' EP earlier this year. For this latest outing, he works with fellow Bulgarian talent Raredub, known for his own high-octane, distinctive and dynamic sound that has gained supporters From FJAAK to Paul Woolford.

The original 'Time to Change' has already generated buzz and has been a favourite of DJs from across the electronic realm, bringing a forceful and slamming cut with plenty of machine funk. A buzzy lead synth roams through the mix to bring great menace, while garage-like percussive loops keep things moving over a monstrous bassline.

One of techno's most influential DJs and producers, long-time Berghain resident Marcel Dettmann joins the release to offer his unique touch as the first remixer on the project. His 'Reconstruction' brings subtle nuances as he slows the beats to a more dubbed-out house vibe and layers in bright synths and swirling vocal loops that will get hands in the air. His 'Universal Raw Mix' closes the package in style, delivering a stripped-back roller with freaky vocals and eerie synth details.

Portuguese techno force Lewis Fautzi debuts under his own name on Mutual Rytm with ‘Beneath The Surface’. Hailing from Barcelos, Portuguese maestro Lewis Fautzi has carved out a formidable reputation through a run of uncompromising releases and a sound rooted in tension, precision and raw power - exemplified by his recent outing on the agenda-setting Hayes Collective. He has previously established his fierce, potent sound on Soma, PoleGroup, Mord, and a number of other influential labels, while also heading up Faut Section. Having previously appeared on Mutual Rytm’s Federation Of Rytm III compilation under his Non Cyclic alias, he now steps out on SHDW’s label with a six-tracker busting full of impactful techno cuts. The heavily-requested ‘Beneath The Surface’ opens the EP with menacing low-end and tightly coiled pressure that's released through simmering valves and hissing synths. ‘The Hollow Cycle’ brings a loopy, tunnelling groove with a snaking lead and snaking metallic percussion, while ‘Inner Mechanism’ keeps things dark, deep and driving with a backlit glow that pulls you in. ‘Nonlinear Form’ is streamlined deep techno that fizzes with texture, spraying chords and a rumbling sub-bass, while closer ‘Anamorph’ rides meticulously designed broken beats with an ever-present sense of bass-driven foreboding. For digital purchasers, sparse and eerie bonus ‘Surface’ slams down with industrial weight and real warehouse grit, shaping up another weighty offering for the label.

Finetune — Impulse LP

Singeley Wax presents the third installment of the Russian Series — Finetune's "Impulse" album by electronic musician and media artist Mikhail Komisarov (Michael Dop), co-founder of Slowdance Records.

__About the Music

Finetune is a project through which Mikhail explores and experiments with a sonic palette encompassing ambient, electronic music with elements of jazz and neoclassical. His medium combines modular synthesis, acoustic instruments, field recordings, and deliberately crafted effect chains. He creates distinctive compositions that guide listeners through various emotional states.

The "Impulse" album brings together ten tracks of experimental electronica: hypnotic synthesizer sequences, polyrhythmic structures, cinematic textures, and subtly shifting modulations blend into sonic landscapes where time becomes relative.

__Art Concept

The album's visual identity is based on the multidisciplinary neuro-performance "Impulse," created at the intersection of art and neurotechnology in collaboration with neurovisualization pioneers NeuroLab, digital art studio STAIN (working with algorithmic abstraction since 2009), and physical theatre project "Dancing in the Dark" — Russia's only company featuring visually impaired artists.

During the performance, the brain activity of visually impaired dancers was captured in real-time via neurointerface and transformed into generative graphics. This visual content, born from electrical impulses of consciousness in moments of musical perception, became the foundation for the album's artwork — both static and motion graphics.

2026 Repress!

Om Unit says of this release 'For me it's another milestone as a DNB fan.. Being allowed to come back to 31 again with another shadow boxing version, being one of only a tiny handful of people being allowed to remix this classic truly is an honour, let alone twice! Also working with Thing on "something ancient" was a real blessing not only because he's original and convincing with his own work but also I think he's like me, he does his own thing without adhering to too many of the insular rules that have made dnb such a closed room over the years, and so creating this cinematic piece just happened naturally and I really love the results.

Luke Wyatt created Sladazj as a place for beat-driven cinematic downshift. These were darker doorways than Torn Hawk could step through. Beyond the arches were Sladazj’s favorite landscapes. We’re talking hovercrafts buzzing over dark marshes as Zartan the bad guy from GI Joe changes faces and plays cards with the guy who swings the cinder block on the axe handle. Cinders and ashes, axes and unbelievers. “Second Device” is the second real long-form proving ground for these moves, the second ash pit. Sladazj is the prince of the pit.

Release #50 celebrates the digging, care & musical curiosity that’s made the GSC series essential for DJs, collectors & break seekers alike.

For years GSC has built a catalog that earns immediate “cop-on-sight” status. Thoughtful edits. Deep respect for the OG recordings. Breaks that knock w/out feeling heavy-handed. The kind of taste that reminds you these are real heads behind the decks.

Side A pulls from Jerry Butler’s “I’m Your Mechanical Man,” released in ’74 on the Sweet Sixteen LP. The track contains a raw drum break hip-hop producers recognized instantly. Most famously it powers Method Man’s “Bring The Pain,” 1 of the defining solo joints from the Wu-Tang Clan era. The break later resurfaced in Missy Elliott & Method Man’s 2002 version & Snoop Dogg’s “I Miss That Bitch.”

On the flip, GSC draws the source into pure DJ tooling: a sample break edit, a full drum break edit & the “Mechanical Wu” mix — built for selectors who know the power of letting a break breathe.

Then they deliver a beautiful surprise. Instead of leaving empty wax, GSC slides in Les McCann’s “Vallarta,” from the 1977 album Music Lets Me Be. Jazz-funk heads know it instantly — the hypnotic groove behind Biggie’s “Ten Crack Commandments.”

This is why Galaxy Sound Co. matters. They’re not just pressing edits — they’re curating moments. Unearthing grooves DJs need back in rotation. Some originals now cost serious money on Discogs. Others simply faded from memory. GSC dusts them off & hands them back to the community.

50 releases in & the curiosity still runs deep.

Six tracks. Six undeniable hits. Science can't explain it.

Four dazzling pdqb originals: pop-infused disco house transmissions where retro dreams collide with absurdly modern groove technology and hyper-modern circuitry. Hooks everywhere. Basslines that flirt shamelessly with eternity. Rhythms that know exactly what they're doing.
And then Roman Flügel arrives at the party. With two remixes of such dubby, technoid magnificence that they bend the laws of physics wherever they're played.
The cover? Pure gold. A radiant golden surface punctured by bullet marks - courtesy of world-renowned artist Maurizio Cattelan. When the music hits this hard, the artwork should too.
And the vinyl itself is no less extravagant: it reveals a dramatic close-up of the Direct Hit - a colossal crater surrounded by smoky burn marks, gleaming like a tiny golden monument to impeccable taste.
A small but undeniable upgrade to the cultural history of planet Earth. Play loud. Repeat often. History will thank you.

P.S. Real-world violence is neither glamorous nor welcome - this record stands firmly for peace, joy, and the radical idea that the only explosions worth having happen on dancefloors.

For UnExposed Records first vinyl release, Uruguay’s Marcos Coya wanted to show the world a different side of his artistic approach. In a world of monotonous copy/paste, Marcos wanted to bring something unique to the table. A compilation of spacey, dreamy & emotional tunes custom built for the dance floor yet still experimental as well. Deep grooves & long developments. No fluff. No overbearing bangers. True underground production principles. Crafted for those with a refined palate.

The A-side is dedicated to Marcos Coya’s four to the floor production work. This sonic expedition begins w/ a bang: the record’s title track “Moon Trippin”! A showcase of freaky melodies accompanied by groovy percussions which bolster a vocal of Prince speaking his mind about the true essence of creating musical art & his disdain for mainstream music industry critics.

“Delirium” closes out the A-side w/ a dreamy acid house tune adding an emotional touch to the record. After hours material. A real step forward for Marcos and his production work. Leaning heavier than ever into trusting his melodies. Taking a bit more risk with his approach by creating something you’ve never heard from him on any of his nearly 20 vinyl releases over his career.

For the B-side we shift over to a more breakbeat approach with 2 absolute heaters. B1 introduces the track Hearthug has claimed to be one of the tracks of the year: “Rage Dog”. Rage Dog is a Marcos Coya signature track due to its rock & hip hop influences developed during his adolescence. Marcos even purchased new synthesizers specifically to improve this track & its melodies. The cherry on top is the vocal from Rage Against The Machine’s front man, Zack de la Rocha, which adds a rebelliously political undertone to the record, something UnExposed & Marcos both are very proud to address w/ passionate conviction during this time of war and injustice.

We close out the record with “D.N.A.”, the most experimental piece of art on this vinyl release. A wild combination of breakbeats, guitars, melodies & crazy vocals. The perfect bizarrely fascinating conclusion to this wild trip to the moon and back.

Early support from heavy hitters such as: DJ Koolt, Anthea, Velasco, KT, Hearthug, Mario Liberti, Daïf & many more!

This EP includes a sample from “The Roof is On Fire” song by Rock Master Scott & The Dynamic Three, produced in 1984 by Reality Records. Also sampled on the single "Hey Boy Hey Girl" by The Chemical Brothers, released by Virgin in 1999. The roof is still on fire. Peace!

Derek Kamm is the American producer behind the Kidislive project and brings more than two decades of experience.

The Long Island-raised DJ and producer has previously received support from the likes of Richie Hawtin, Marco Carola and Carl Craig, while releasing on Visionquest, but now hones his craft, combining influences from micro house, minimal and experimental. Fresh off a third outing on 8 Head Records, he is back on his own new label to explore more compelling grooves.

Opener 'Down To The Penny' has a lively carnival feel, with an excitable mix of shimmering synths and subtle guitar riffs bursting through the mix. Sweeping filters ramp up the scale as more delicate melodies hang in the air, helping to hypnotise the dance floor. There is plenty of sunshine in the rich, multilayered instrumental 'Never Stop Reaching', which builds through rousing chords and florid flute lines. Vocals arrive with an empowering message that will bring real rapture. The fantastic 'Dipper Fox' is a rugged rhythm with chunky bass and a muscular feel that's softened by wispy, swirling synths and soaring choral vocals. Last but not least, 'Shorty Circuitry' is a study in emotional soundscaping - a warm, effervescing brew with strings and breathy vocals, long-tailed chords and a sense of joy all swarming around a subtle bass guitar that moves things onward and upwards.

With centuries of history, traditional instruments carry physical vibrations shaped by human breath and touch.
In contrast, electronic music generates vibrations through inorganic principles such as electrical signals and circuits. When the subtle tremors of traditional instruments resonate with the intricate tones of electronic sounds in an improvised dialogue, performers from distinct realms expand each other’s languages, creating a new sensory experience.
The project album Ancient Moment marks the first collaboration between the Korean contemporary music ensemble WhatWhy Art and the Seoul underground electronic music collective vurt.. It is a record of a free journey where two different worlds collide and merge, breaking cultural boundaries and dismantling aesthetic hierarchies.In Part 2 of the album, you will hear boundless performances by haegeum player Jieun Kang with electronic musician Djilogue, and Whatwhy Art with electronic musician Siot.
The recording was done in an improvised one-take format at STUDIO Y in Seoul, and Giuseppe Tillieci mastering enhanced the sonic quality.
Credit
Jieun Kang / Haegeum
Hong Yoo / Daegeum
Hwayoung Lee / Gayageum
Woongsik Kim / Korean Traditional Percussion
Djilogue / Electronics
Siot / Electronics
Produced by Hong Yoo, Yoojun
Executive Produced by Jieun Kang
Designed by Yoojun
Motion Graphic Video Created by Nahsol
Live Sound Recorded by Jeong Morgan at STUDIO Y
Mastered by Giuseppe Tillieci at Enisslab
Supported by Arts Council Korea (ARKO)
Distributed by Space Cadets
Released by WhatWhy Art & vurt.

Gwenan Spearing, known for her perceptive, groove-oriented DJ sets, and more recently as a live performer working with hardware improvisation, launches a new imprint, Phase Space, with Degrees of Freedom, a debut album diving deep into generative electronics, modular systems, and real-time response. Composed and recorded in 2019-2020, the album treats constraint as creative fuel, floating between ambient,
sonic sculpture, and improvisation, mapping Gwenan’s path from rural Wales to Berlin’s outer zones of experimental sound.
Sync opens with a theme on a slow triangle wave, expanding the space as it evolves. Some Pluck explores generative counterpoint using LFOs and Euclidean rhythms. Generator I unfolds in an oscillating time where keyboard and bass circuits cross-modulate. Sleep Pressure is a lullaby for grown-ups, capturing that eerie threshold before sleep, followed by Loper, where time flows fluid and unstable. The closer, Generator II, holds machine heartbeats in delicate equilibrium before unraveling into graceful decay, a soft farewell. (That’s the Universe waving.) Degrees of Freedom is algorithmic music with a pulse: visceral, hand-wired, and built for deep listening.

Two Seminal albums from cult Ghanaian musician Alhaji K. Frimpong and his group the Cubano Fiestas, recorded in 1976 and 1977 respectively and considered to be some of the best highlife albums ever recorded, at the pinnacle of West African musical tradition and innovation.

Both originally self titled, they have become known by the colour of the covers - Blue and Black respectively. The Blue Album brings new arrangements to traditional Ghanaian melodies and features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more. The Black Album expands the electronic elements and features the equally visionary Hwehwe Mu Na Yi Wo Mpena, although the real gem is hiding on the B side: the extended groove of “Adam Nana”. Sinuously evolving guitar lines, clavinet vamps, harmonised vocal snatches and otherworldly percussion expand and contract over a full quarter of an hour - a Ghanaian repost to the Afro Jazz experiments going on at the same time on the other side of the Atlantic. Although popular in Ghana at the time of the release, the albums were never distributed internationally and original copies of the album are extremely rare.

The albums got a limited reissue in 2011 and have been unavailable since - even reissue copies sell for high prices on the second hand market