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This album cover is quite mysterious, isn't it? Let's uncover what's behind it. The first notes of the opening track immediately set the tone: the journey begins. Take the album title literally and allow yourself to be comforted by the tenderness the British band is about to offer.



Dream pop is a genre of its own, characterized by a warm sound, enveloping bass lines, dreamy synths, and beautiful vocals. With "No Rush," Tokyo Tea Room guides the listener through an exploration of their emotions and an escape from everyday life.


Each of the 12 tracks on this project exudes the same tender energy, yet stands out with creative and meticulously crafted compositions. This project is poised to become a staple of the genre.

2025 Repress

At last, we get doused from the source; four priors of reissued gems and newer beauts now land us at the quintus maximus: the inaugural Spray on Spray. It’s large and in charge, as we pull back the velvety curtain to reaffirm the exquisite curator is just-as-exquisite a melody maker. OT Rails adjusts the prog antenna to broadcast 3 anthems from the great big dance satellite in the sky, including a collaboration with French cuties Baraka. You’ve had your trad, now dance!

The title track struts along its psychedelic catwalk with a sexy house swagger, unlocking a wobbly stack of pineal-tickling melodies en route. The angels soon sing in positiva harmony, before the piano-lude calls for a tight embrace with those closest to you on the dancefloor. Raise those hands aloft, you know what’s coming; that hard house’d snare roll soon erupts and, before you know it, you’re soaring like the white dove you are. Why does it feel so good?

Spray then switches channel to Ceathair, coaxing the prog spirit from the motherland as the psilocybinised breaks wisp through the undergrowth. The vibe is bouncy, as the diva croons and bassline sings, before the vista opens and the sprayed piper summons you home. Open that third eye, súil eile.
Our swan song is reserved for Baraka and Spray, conjoining their tech trance powers on Think Of Me. The trio up the pace for the grand finale, rolling the tight groove from the off while igniting its hybridised trance rump with hypnotic fervour. The friendly mantra floats heavenly above throughout, absorbing you in a semi-lucid ecstatic state. It’s a whirlwind of dancefloor energy from beginning to end, and Spray wouldn’t have it any other way.

Collecting orders for 2025 repress

Command D's life in the lush, green surrounds of Sydney/ Eora shines through in his Animalia debut, with a warm, dubby four tracker. Diving between slinky downtempo and groovy dance-floor beats, balmy bass-lines, crisp percussion & blissful pads wrap the release in an atmosphere of blissful summer joy.

Hot on the heels of Luv (LuvLuv) comes a sublime new Drum Chums from midland's madlads Wrekin Havoc.
Over the years we've shared great tunes, fun times and A-grade dance floor debauchery with these permanent party people (our first encounter almost exactly like that Spiderman pointing meme) so it made more sense than we usually do to invite them aboard the V*nga bus for some Balearic-Disco edit excellence.

Things kick off with the sexy throb of 'Shine A Light', a stonewashed funk workout complete with Paisley guitars, Troutman bass grunts and some big time blue-eyed soul vocals. It's a bit like an extended and unheard collaboration between George Michael and Tears For Fears recorded immediately after a particularly heavy night at Future. Unsurprising perhaps that this one's been getting a whole lot of love from DJ Harvey.

'Mars Bar Party' grabs you by the hips from the first bar of its swaying Mediterranean house rhythm, then tugs at every single one of your heartstrings with melancholic pads and a silken vocal croon. Fuuuuuuckin' hell! Sorry, was totally bewitched by the primal power of piano house magic - it's like John Rocca was in the room for a second. Armed with an awesome arrangement and clocking in at ten massive minutes, this may be the ultimate Balearic house journey.

If all this wasn't enough to have you stocking up on 5-HTP and sinus rinse, those crafty cats close the set out with the shimmering disco euphoria of 'Leccy Meet Her'. The bottom end pulses endlessly, Cowley synths trill and a crystal clear Vox soar above, sending us far off into mirrorball orbit. If this isn't a hit at Horse Meat, we'll neck a bottle of poppers and never eat a tomato again.

Each and every track Wrekin Havoc touch is a pearler, but we're particularly chuffed with ourselves for snapping this top trio up.

100% Drum Fun Guaranteed. .

Cross merchandise with Rhymesayers, KMD, Viktor Vaughn, Madvillain, JJ DOOM, King Geedorah & Dangerdoom. LP packaging: Case wrapped tip-on gatefold vinyl jacket, new purple vinyl colour double vinyl, 2000 only for the UK. In celebration of the album’s 20th anniversary, MM..FOOD has been repackaged with all new artwork by Sam Rodriguez! Produced by MF DOOM, except "One Beer" produced by Madlib, and "Kon Queso” produced by PNS of the Molemen. Guest features include Count Bass D, Mr Fantastik, Angelika and 4ize. QR-activated immersive AR experiences with album artwork. Brand new music video for "Hoe Cakes" planned for album street date. Originally released in 2004, MF DOOM's MM..FOOD is hailed as a classic hip-hop album full of inventive production, brilliant wordplay, and unique themes. Celebrated for its seamless blend of humor, wit, and social commentary, the album ushers listeners into a bizarre world of food-related metaphors, painting a bitterly comedic portrait of a life tainted by vice, violence, and jealousy. It was a brilliant and novel concept that gave DOOM plenty of room to explore the album’s subjects. Throughout MM..FOOD, DOOM embeds complex ideas within seemingly simple narratives. Album opener “Beef Rapp” is a multi-pronged metaphor reminding listeners of the dangers involved in the glorification of conflict, especially within the rap game. “Hoe Cakes” borrows its name from the sweet, hot water cornmeal patties, which he uses as a symbol to rhyme about indulgence and excess. Continuing the motif, DOOM uses the Madlib-produced “One Beer” to fold layers of depth about escapism and ego, while the popular “Rapp Snitch Knishes” critiques the self-incrimination and contradictory behaviors of some rappers. Overall, MM..FOOD is both a social commentary and a piece of social satire, showcasing MF DOOM’s ability to blend serious themes with his unique, playful lyrical style. MM..FOOD album sales history over 820K+ units sold (RIAA-certified gold). MM..FOOD streaming history over 1.2M+ streams. MF DOOM’’s catalog sales history over 1.7M+ units sold. MF DOOM’s catalog streaming history over 3B+ streams.

Back in 1988, disco rap aficionado and collector Dave Lee put together a compilation titled 'Back To The Old School', showcasing some of the best of the genre, most of which had never been issued before in the UK . Fast forward to 2025 and Dave's label Z Records has managed to procure the rights to a few choice old school cuts for a (sort of) follow up. The difference is this time Mr Lee has remixed and re-worked the songs for today's dancefloors while preserving their original flavour and integrity. In this first part of the series we have TJ Swann's 1981 jam 'Get Fly', re-tracked and taken into lo-slung yacht rock funk territory with a sizzling synth solo for good measure, a perfect compliment to TJ's smooth NYC flow. Terry Lewis & Wild Flower are up next on the A-side, with a boogie rich, mid-tempo stomper with a heavy funk bottom end and a message that still rings true in this day and age. Mike T's 'Do It Anyway You Wanna' finishes things up with a compulsive dose of jazz-tinged disco rap that goes straight for the jugular, super charged slap bass underpinning sharp sax and flute motifs while the rich tones of Mike T slide over the top. Dave Lee yet again providing a masterclass in production.

The ever-prolific Mihai Popoviciu returns with a stunning three-tracker on Sublease Music, delivering another masterclass in groove-oriented deep house. Known for his unmistakable precision and subtle emotional touch, the Romanian producer continues to bridge the space between warm underground energy and refined studio craftsmanship.
Over the past two decades, Popoviciu has become one of Eastern Europe’s most respected exports in electronic music, releasing on labels such as Bondage, Poker Flat, and Hudd Traxx, and earning international acclaim for his deep yet functional approach to house. On Sublease, he strips things back to their essential form: hypnotic basslines, crisp percussion, and fluid arrangements that move the dance floor without ever shouting for attention.
Each track radiates Popoviciu’s signature flow, a careful balance between drive and depth, tension and release. Sublease Music, the sister label of Poker Flat, continues its mission to present pure, modern house music from some of the most consistent artists in the scene. This release fits perfectly into that lineage, deep, timeless, and irresistibly groovy. From intimate after-hours sessions to peak-time sets in discerning clubs, these cuts prove once again that Mihai Popoviciu doesn’t follow trends, he defines the standard.

Filtrack’s Anxiety…My Old Friend is four cuts built from tight percussion, coiled basslines and a sense of unresolved pressure. Rather than smoothing the nerves, the tracks sharpen them and push physical tension and forward momentum on the dancefloor.

The A-side exhales a clenched drive, tension and power that keeps pressing forward. Flip to the B-side and Filtrack holds anxiety at its core with cuts that are raw, dancy and deep. The whole EP turns apprehension into techno, inviting you to sit with the discomfort, then dance through it.

Sometimes artistic genius can be hiding in plain sight. Innovators and sonic pioneers that are stalwarts of the 140 dubstep scene can be taken for granted with just how damn good they are.

With DDD favourite Abstrakt Sonance’s second LP on the label ‘Nature of Things’, he is taking his organic fuelled, harmonically intuitive, bass driven madness to new heights.

With his signature blend of primitive percussion, scattered chops and savage sub frequencies - Abstrakt’s record is an 11 track tour-de-force of production mastery, impish tendency and true artistic expression.

To single out particular tunes on the album seems a fallacious exercise, given the strength in-depth of the sequence of work - with guest appearances scattered in from producers Wraz., Coltcuts and Outsider, alongside the stunning vocals of Sahala and bars from the godson of grime, Saskilla.

Let us just tell you that each one will have you flying through the jungle like tarzan on speed, with enough adrenaline to fend off any silverback gorilla and emotional guile to lead a troop of chimpanzees.

Existential musings over the Nature of Things can be confusing at best - but with Abstrakt Sonance it equates to sonic and visual clarity.

Careful though, he could still pop you with the Snipa.

In a flock of mediocrity, "Black Sheep" rips the fleece of expectations, gracing the sonic fields of raw, analog grit to stand out as the herder of the pack.

Refuting convention, Black Sheep delves into the grittier, grimier and harder side of bass - animating the grazing fields with imperfect yet immaculate rhythms, dangerously low yet guttural bass.

Unapologetically authentic and refuting any sense of normalcy - Rational Soul stretches the blade of grass to unrealised levels of authenticity with "Black Sheep".

Fracture & Neptune return to Astrophonica with their first collaborative 12” on the label since 2010.

Two epic, psychedelic, and deeply authentic tracks for both the floor and the head, carrying the unmistakable hallmarks of the duo’s classic sound — A psychedelic concoction of Jazz, Sci-Fi, Dub, and Breakbeat Choppage. Rooted in the lineage of Jungle and Drum & Bass, yet delivered in Fracture & Neptune’s unmistakably unique style.

To celebrate the release, UTILE — responsible for all Astrophonica design — have gone all out on the artwork, creating an iconic, type-based image for both tracks, presented on a full-colour, double-sided printed sleeve. Massive shout to UTILE for being as important to the label as the music.

“Erase Everything” is a journey through LA 2049 via London 1999 — as if Deckard were blasting an AWOL tape in his Spinner. Merging classic breaks and analogue saturation with soaring, cutting-edge pads and city-wide reverb, the result is both devastating and deeply thoughtful.

“Good Stuff” is inspired by a love of digging for samples across Jazz, Hip Hop, and Rock, and by a dedication to crafting kaleidoscopic soundscapes — All that good stuff, blended into one hallucinogenic trip.

Meeting at Islington Sixth Form College in 1996, Charlie (Fracture) and Nelson (Neptune) bonded over their deep love for the defining sound of London at the time — Jungle and Drum & Bass. Countless trips to Black Market Records in Soho, playing on pirate radio stations, and eventually, a makeshift bedroom studio — complete with an E-Mu ESI4000, a Mackie desk, and a few FX units — set the foundation for their journey. Their first release arrived in 2002 on Droppin’ Science, the label run by legendary Hardcore and Jungle pioneer — and fellow breakbeat manipulator — Danny Breaks. A run of mid-2000s releases on Ireland’s Bassbin, Paradox’s Outsider, and London’s Inperspective Records propelled Fracture & Neptune further into the cosmos. In 2009, they founded Astrophonica — initially as a home for their own music, but it quickly evolved into a hub for like-minded artists to experiment and explore freely. Almost 30 years on, they’re back in the studio with APHA034 — with more to come.

A synthesiser sighs up and down the scale, a cool electro beat is wrapped in cotton wool and Fabian Drung aka JFR MOON sings about life in a bubble. "In a Bubble" is the name of this beautifully sentimental synth pop number, to which JFR Moon's new album owes its name. Although JFR MOON produces his music more professionally from album to album, the indie pop characterised by synthesizers and electro beats never seems too pleasing, remains unruly. Sometimes the pieces wander through curious psychedelic harmonies ("Silver"), sometimes they remind us of the Smiths ("Turn Around"), sometimes they stumble onto the dance floor ("Experience"). Blurred chords flit through "Stereo Tap", a yearning guitar melody wanders through "Ready", a nervous synth bass twitches through "Hun I Wish". Grooves meet echoing atmospheric sound textures. "I used to do folk where there was no rhythm at all," he says, "this time I wanted to write more uptempo songs, pay more attention to the drum machine." All tracks written and performed by JFR Moon. Mixed and produced by Thomas Zehnle (All Diese Gewalt, Levin Goes Lightly). Mastered by Enyang Urbiks. Additional vocals on ,In A Bubble" by Martha Rose. Solo guitar on ,Silver" by Dandy Deniz.

We are very happy to present you the 3rd release from D'Julz on CHIWAX!
The Bass Culture-Boss delivered again a fantastic rcords for us, showing here his big range and understanding of House Music! We are expecting to release this beauty mid. of October. Highly recommended!

Bringing together two distinct yet complementary forces in electronic music, Zohar and Nymfo join for their first collaborative release on Dekmantel.

Zohar’s sound is defined by razor-sharp precision and pulsating percussive energy storm-like sonics that disorient and excite in equal measure. With a background shaped by years of commanding dancefloors, she has carved a diverse and eclectic path, where rattling low-end and rhythmic tension form the foundation. Known for her technical refinement and mixing wizardry, Zohar intuitively seeks unexpected connections, always pushing her listeners into new territory. Following several contributions to Dekmantel compilations, this marks her first full-length release on the label.

Nymfo has been an essential figure in drum & bass since the late ’90s. Starting out in Eindhoven’s rave and jungle scene, he quickly became known for his fierce DJ sets and later, his productions. His catalogue spans acclaimed labels such as Metalheadz, 1985 Music, Commercial Suicide, Hospital Records, Critical, Dispatch, Shogun Audio, and many more. With two albums and a steady output of singles and EPs, Nymfo has consistently balanced raw dancefloor energy with a deep, refined production ethos.

Their paths crossed countless times in the scene, yet it wasn’t until Dekmantel invited them for a special Dekmantel Connects performance an ambitious setup with eight CDJs and four mixers that they shared the decks for the first time. The synergy of that moment carried into the studio, where their collaboration took shape. This release now returns them to the Dekmantel family, presenting their joint vision: a dialogue between low-end weight, rhythmic intricacy, and forward-thinking club sonics.

Wenn du zehn Jahre in die Vergangenheit reisen könntest, was würdest du deinem jüngeren Ich sagen wollen? Das war eine Frage, die sich Khruangbin selbst stellten, als sie sich dem zehnjährigen Jubiläum ihres Debütalbums näherten - dem einstigen Kultklassiker, der heute als genreprägend gilt: The Universe Smiles Upon You". Wenn wir zurückgehen und uns selbst sagen könnten, wie viel nach diesem Album auf uns zukommen würde, was würden wir feiern wollen?" fragte Laura Lee, Bassistin, Sängerin und Gründungsmitglied der Band. Stattdessen dachten sie: Lasst es uns noch einmal machen." The Universe Smiles Upon You ii" wurde vom 4. bis 6. Januar 2025 in derselben Familien-Scheune des Gitarristen Mark Speer aufgenommen, an denselben Tagen, an denen TUSUY vor zehn Jahren erstmals entstand. Obwohl die Bedingungen dieselben waren - Schmutzboden, brutal kalt, minimale Schalldämmung, alle Aufnahmen live - sind die Songs es nicht. Sie wurden neu angegangen, einige stärker verändert als andere, mit der eingefangenen Blitz-in-der-Flasche"-Energie des ursprünglichen Albums, während gleichzeitig entdeckt wurde, was diesmal einzigartig sein würde, in dieser Phase des Bandlebens. Das Ergebnis bewegt sich wie Wellen auf dem Wasser über zehn hypnotisierende Tracks, die Scheune erzeugt ein Gefühl von Weite, Gelassenheit und kreativer Freiheit, die nahegelegene Tierwelt ist hörbar (achtet auf die Vögel bei August Twelve ii"), ebenso das Knarren und Klappern der Scheune. Es ist ein Geflecht aus kleinen Bewegungen in nuancierten Arrangements, das langsam das neue Leben, die Geschichten und den Charakter von jemandem enthüllt, den man nach zehn Jahren wieder wie zum ersten Mal trifft.

On the heels of their breakout earlier this year, the enigmatic duo Soundboy Dead step up for their first release on Dub-Stuy with Soundclash Story, a fierce tribute to the art of clashing featuring UK veteran Don Cotti.

The title track captures the heat of the dance, Cotti at the mic delivering a vivid tale of dubplate warfare over a menacing steppers riddim built for the battlefield. On the flip, Soundclash Dub pushes the pressure even deeper, with a stripped down, FX-laden version that will test the heaviest rigs.

With Soundclash Story, Soundboy Dead continue their mission of crafting uncompromising bass music rooted in sound system culture. Pure energy. No gimmicks.

2025 Repress

DJ Support: Kerri Chandler, Chris Stussy, Archie Hamilton, Fabe, Groovesh, Vlad Caia, Andrey P Ush Krav, Thor, Masimillano Pagliara, Dubtil, Reboot, East End Dubs, IULY.B, Josh Wink

Chris Stussy ‘A Glimmer Of Hope’ EP in now being re-issued due to demand on LTD edition transparent red vinyl.

Amsterdam based producer and DJ Chris Stussy has become one of the most eminent figures in the contemporary house scene of the Netherlands and across the globe over the past 10 years, racking up releases on the likes of Eastenderz, Moscow, PIV, Contstant Sound and most recently his own Up The Stuss imprint.

Leading the release is ‘Central Frenzy’, laid out across six and a half minutes with skippy percussion, a snaking bass groove, intricate synth sequences and sweeping vocal chants. ‘Riva De Biasio’ follows and tips the focus over to airy atmospherics a jazz-tinged bass groove and squelchy acid licks atop swinging drums.

‘Deviant Shadow’ opens the flip-side and merges an amalgamation of expansive dub chords and bouncy sub bass tones with a robust 4/4 rhythm. Lastly to round things out is title-cut ‘A Glimmer Of Hope’, wrapping up the release on a deeper tip courtesy of ethereal pad swells, metallic synth licks and shuffled drums.

New York-based Patrick Sullivan AKA P-Sol has a terrific track record when it comes to refined re-edits and classy, sample-rich mash-ups. Even so, his latest effort, delivered on a tidy and must-check seven-inch, is particularly potent. On the A-side, he takes us into immersive, seductive and ultra-deep territory via the mid-tempo house headiness of 'Everybody' - a kind of 'quiet storm goes deep house' affair featuring warming electric piano chords, heady bass and selected vocal samples from a soulful classic. On 'Walk Away', he provides a warming, percussion-rich new take on R&B classic 'Don't Walk Away', adding her familiar vocals to a head-nodding instrumental full of mazy solos, rubbery bass guitar and handclap-heavy beats.

Shogun Audio is extremely proud to present GLXY's second album, 'Form, Focus'. Unequivocally the most refined body of work to date from the ever-evolving drum & bass duo, this LP showcases GLXY at their irresistible best.
A decade on from the release of their debut single 'Small Talk/Trinity', GLXY have cemented themselves as one of liquid drum and bass’ most respected and prolific acts. With twelve EPs, a debut album in 2020, and collaborations with the likes of Alix Perez, Halogenix, Lenzman, Unglued, and Catching Cairo under their belt, 'Form, Focus' represents the next definitive milestone in an already heavyweight catalogue.
From beginning to end, the record distils everything that makes GLXY so special. Abundant with luscious sound design, soulful vocal features, and an unmistakable sense of groove and musicality. Featuring Charli Brix, DRS, Duskee, Eljé, Jords, Salo, and Verbz, the tracks flow seamlessly between deep, introspective liquid cuts and vibrant, club-ready rollers, painting a full picture of their artistry while pushing their sound into fresh, exciting spaces.
More than just a continuation, 'Form, Focus' feels like a statement: a decade of honing their craft distilled into a singular vision. It’s an album that reaffirms GLXY’s position at the cutting edge of the genre, while at the same time carving out their own unmistakable lane within it.

Italian duo Marsupials returns on Cut My Records with a two-track EP that blends the sophistication of deep house with the pulsating energy of afrodisco roots.

On side A, “Kaurna” opens with an elegant homage to the Detroit scene of the early 2000s: an intense and enveloping track, built on deep live bass, velvety strings, warm keys, and a groove that builds hypnotically until it completely captivates the listener.

“Sokoni”, meanwhile, takes the dance outdoors: a sunny and percussive track, animated by choruses recorded live at a Tanzanian market, intertwined with a driving and syncopated guitar enriched by played parts of bass and rhodes riffs. An explosion of rhythm and vitality that effortlessly blends tradition and club culture.

A very limited vinyl release (edition of 200 hand stamped and numbered copies) that speaks to the body and soul, designed for the dance floor but crafted from heart and with an increasingly mature and recognizable sensibility.

The duality of "man" is a subject that has been explored in art for centuries, from writings of the Bible to Descartes, all the way up to filmmakers like Lynch, Cronenberg, & Carpenter. Who is your "true self" & what do they want? With their sixth studio album "Wish Defense" (again for longtime home Trouble In Mind Records), Chicago trio FACS take a good, long look in the mirror to face themselves. The return of original member Jonathan Van Herik - who stepped away from the group just before their debut album "Negative Houses" was released in 2018 - replacing longtime bassist Alianna Kalaba brings renewed vigor & a marked angularity from the band's more recent output. The songs still hit hard, but the approach is sideways - the roles have changed since Van Herik's original tenure & his previous time with Case & powerhouse drummer Noah Leger in Disappears; now on bass, Van Herik was originally the group's guitar player and features on the debut, while current guitarist Brian Case played bass. This role reversal has helped the band's dynamic, offering up a different musical perspective than before, now revisiting the trio's long-going collaboration with some distance and time. Case notes that the lyrics on "Wish Defense" revolve around doppelgängers or "doubles", tackling the idea of facing yourself and observing your ideas and motivations. Look no further than the album's title track; "Enter the mirror / Double walker / An intimate / Wish defense / Is it real? / You beside me / The detail / Terrifying / Abject self / Your grief / A public / Performance". Case lays out the entire album's theme in one stanza; Are your actions & emotions your true self? Or are they a performative aspect of that "other" person you put forward? Case says that ultimately the sentiment is "_don't let the bastards get you down, there's something beyond this moment, like hope - but not in the naive belief that ultimately people are good". "Wish Defense"s artwork is also a subtle reference to "Negative Houses"' art, returning to that album's black & white starkness & minimalism. The album's checkerboards everywhere are offset reflections of themselves, mirrored with the album's lyrics printed front & center on the cover. Everything is out in the open. A final note; "Wish Defense" is the last album engineered by Steve Albini. Two days were recorded at Electrical Audio in early May of 2024 before Steve's untimely passing, with renowned engineer & friend Sanford Parker stepping in to finish the session 24 hours later, tracking the last bits of vocals and overdubs. Longtime collaborator John Congleton mixed the album as Albini would have; in Electrical Audio's A room, off the tape, using Albini's notes about the session.

In 2009 Jim Hart first came together with Michael Janisch and Dave Smith to create Cloudmakers Trio. Since then their powerfully original vision has grown and sustained an international touring career, keeping them at the forefront of contemporary instrumental music in an exciting, horizon-spanning space where jazz, European improvisation, rock and global beats co-exist in an ever-shifting skyscape of creativity. Through all their various collaborations, the vibes-bass-drums trio has remained the core of the Cloudmakers sound. Now, fifteen years after their inception, the concept has come full circle with the inclusion of a new collaborator, the Grammy-winning Argentinian piano master Leo Genovese, already a veteran of the bands of Esperanza Spalding, Jack DeJohnette, and Wayne Shorter. The quartet went into the fabled Abbey Road Studio 3 to record with legendary engineer Sam Okel.

Third opus from Acid Meets familly, Diffidatik Records !

First tune from Sylo vs Minds Controllers is a story-teller, broken and then banger, with an Acid bass full of tension surrounded by dub feelings..
.
Second track from Neurotribe is a night caller, sunset style, dark and trance, industrial and acid, A contonuum-vitae, not shouting but growing more and more dancefloor... as the sun goes down, it goes darker !

The flip opens with LOKO and a french speaker calling for Unity in Free Party, as a culture, as a way of life and most of all LOVE & NOISE !

Last track goes PEACE ! Brixton23 and a sweet techno lullaby... A little jewel of tenderness... Even if... the Kick turns a bit more Hard after a little while :) éhéh

All in one this is the best of the 3 Acid Meets release... coming with a super printed sleeve !

Gotta get it !!!!

The record comes with the printed text of B1 tune from LOKO.

Tracks list
A1 - Sylo vs Minds Controllers - Overshoot
A2 - Neurotribe - Ethernit
B1 - Loko - Ca Revendique
B2 - Brixton23 - Acid Spring
Add all tracks to a playlist
Other releases by Neurotribe

Miku Saso's second city pop cover album has already been released! It includes five tracks: "Friday Chinatown," "Sky Restaurant," "Love Story Comes Suddenly"
"Kiss" and "Tokai" Combined with Miku Saso's whispering vocals, this album truly deserves to be called mellow city pop.
This album is once again sound-produced by bassist Naoki Itaya, and features Kei Takatsuki on guitar and Takashi Nakazato on percussion.
It's a crossover of smooth, urbane programmed sounds and live instruments.

Luca Attanasio hails from Sydney, Australia but has made global moves with his grooves already on labels like Limousine Dreams. He brings his class to Pilot here - one of the very many labels in Burnski's orbit. Opener 'All 4s' amps you up with the insistent hi-hats, which bring air and dynamism to a warped low end and fresh tech drums. 'Pistol Pete' is another fulsome cut with a broad-stroke bassline and wub-wub effects on the synths to make for a wafty but driving vibe. 'Bust Up' taps into a dark garage low end with cosmic motifs up top and a perfect blend of headiness and physicality.

Winner of the Gold Medal at the 2024 Jazz Audio Disc Awards, a jazz critic magazine!
This best-of album features selections from three of Alessandro Galati's most talked-about albums!
Alessandro Galati, a master of Italian jazz who has released numerous albums on Terashima Records, released his standards collection "Plays Standards" series
at the end of 2024, following "European Walkabout," a collection of European traditional music, and "Portrait in Black and White," a collection of Jobim's classic
bossa nova works. All three albums (23 tracks) of Galati's standards collection, released at the end of 2024, are now being released simultaneously! The album
won the Gold Medal at the 2024 Jazz Audio Disc Awards, a jazz critic magazine magazine, and caused a stir. This long-awaited best-of album, featuring selected
tracks from the three albums, is finally being released on limited-edition vinyl. Enjoy this collection of gentle, warm, and beautiful standards, woven with a touch
that evokes the warmth of human skin and refined phrasing.

Alessandro Galati - piano
Ares Tavolazzi - bass
Bernardo Guerra - drums

Begging Dog ist das Indie-Punk-Projekt des in Los Angeles ansässigen Künstlers Jeff Kleinman. Als Ventil für seine Arbeit außerhalb der Band Choir Boy widmet sich Kleinman bei Begging Dog einem rohen, hausgemachten Sound mit Anklängen an Garage Punk und einer einfachen Sprache in den Texten. DEMO 1 ist 26 Minuten lang und voller rollender Bass- und Synthesizer-Linien, charismatischer Riffs und motorischer Drum-Beats. Textlich zeichnen die Songs eine Reihe von Beobachtungen, Szenen und Charakteren aus dem Leben: einen aufdringlichen Gewerkschaftsvertreter, einen Postboten mit einem festen Job bei der Bundesbehörde, einen zwanghaften Spieler und einen geliebten Obdachlosen aus der Nachbarschaft. Ehemalige Liebschaften werden zu einer Collage zusammengefügt, die mehrere Tracks begleitet, aus dem Zusammenhang gerissen, mit unverblümten, scharfsinnigen freien Versen. Kleinman nennt Bruce Springsteen als Inspiration dafür, wie seine Songs mit schlichter Tinte geschrieben sind, wobei er direkte Einfachheit gegenüber blumiger Prosa bevorzugt. Er greift eine gemeinsame Einsamkeit auf, die sowohl universell als auch vielleicht besonders einzigartig für das Leben in Los Angeles ist, mit schnörkellosen Nuancen und Verletzlichkeit. Im Titelsong singt Kleinman: ,Niemand liebt einen bettelnden Hund", eine Zeile, die er von einem Freund übernommen hat und die die Sichtweise des Projekts verkörpert: Die Welt kann einem das Gefühl geben, ein bettelnder Hund auf der Suche nach einem Zuhause zu sein. Auf dem Titelsong singt Kleinman ,no one loves a begging dog" (niemand liebt einen bettelnden Hund) in einer Zeile ,die er von einem Freund übernommen hat und die die Sichtweise des Projekts verkörpert: Die Welt kann einem das Gefühl geben, ein bettelnder Hund auf der Suche nach Zuneigung und Sicherheit zu sein, aber es liegt auch Schönheit in der Einsamkeit und der summenden Monotonie des Ganzen. Der synthlastige Titel ,Laughing Boy" reflektiert über den Sinn des Lebens, kritisiert hohe Mieten und erwähnt gleichzeitig den Duft von Jasminbäumen sowie die störende Präsenz der Polizei. In ,Common Place", umgeben von drängenden Drum-Machine-Kicks und Verzerrungen, singt er davon, wie er sich in einem 7-Eleven-Laden in der Innenstadt wirklich lebendig fühlt, um dann zwischen einer Tragödie, die er in einem Park miterlebt hat, und schönen Erinnerungen an das Leben in einer Wohngemeinschaft in Salt Lake City hin und her zu springen, bevor er sein neues Mantra verkündet: ,Es ist vorbei." Die Kontraste hier sind es, die diese Songs menschlich machen. Kleinman nahm DEMO 1 schnell und mit wenig mehr als sich selbst auf. Live übersetzt sich das dynamische Material von Begging Dog in eine siebenköpfige Band. Kleinman nahm DEMO 1 schnell und fast alleine auf. Live wird das dynamische Material von Begging Dog von einer siebenköpfigen Band umgesetzt. ,Egal, wie gut oder schlecht es einem geht, man sucht irgendwie nach etwas mehr", sagt Kleinman, ohne zu versuchen, eine größere Bedeutung in seiner Arbeit zu finden. ,Wenn ich über diese Dinge schreibe, versuche ich nicht, sie wichtiger zu machen, als sie sind." DEMO 1 profitiert von dieser geradlinigen, alltäglichen Bescheidenheit, die Offenheit mit Entschlossenheit und eingängigen Melodien verbindet.

Begging Dog ist das Indie-Punk-Projekt des in Los Angeles ansässigen Künstlers Jeff Kleinman. Als Ventil für seine Arbeit außerhalb der Band Choir Boy widmet sich Kleinman bei Begging Dog einem rohen, hausgemachten Sound mit Anklängen an Garage Punk und einer einfachen Sprache in den Texten. DEMO 1 ist 26 Minuten lang und voller rollender Bass- und Synthesizer-Linien, charismatischer Riffs und motorischer Drum-Beats. Textlich zeichnen die Songs eine Reihe von Beobachtungen, Szenen und Charakteren aus dem Leben: einen aufdringlichen Gewerkschaftsvertreter, einen Postboten mit einem festen Job bei der Bundesbehörde, einen zwanghaften Spieler und einen geliebten Obdachlosen aus der Nachbarschaft. Ehemalige Liebschaften werden zu einer Collage zusammengefügt, die mehrere Tracks begleitet, aus dem Zusammenhang gerissen, mit unverblümten, scharfsinnigen freien Versen. Kleinman nennt Bruce Springsteen als Inspiration dafür, wie seine Songs mit schlichter Tinte geschrieben sind, wobei er direkte Einfachheit gegenüber blumiger Prosa bevorzugt. Er greift eine gemeinsame Einsamkeit auf, die sowohl universell als auch vielleicht besonders einzigartig für das Leben in Los Angeles ist, mit schnörkellosen Nuancen und Verletzlichkeit. Im Titelsong singt Kleinman: ,Niemand liebt einen bettelnden Hund", eine Zeile, die er von einem Freund übernommen hat und die die Sichtweise des Projekts verkörpert: Die Welt kann einem das Gefühl geben, ein bettelnder Hund auf der Suche nach einem Zuhause zu sein. Auf dem Titelsong singt Kleinman ,no one loves a begging dog" (niemand liebt einen bettelnden Hund) in einer Zeile ,die er von einem Freund übernommen hat und die die Sichtweise des Projekts verkörpert: Die Welt kann einem das Gefühl geben, ein bettelnder Hund auf der Suche nach Zuneigung und Sicherheit zu sein, aber es liegt auch Schönheit in der Einsamkeit und der summenden Monotonie des Ganzen. Der synthlastige Titel ,Laughing Boy" reflektiert über den Sinn des Lebens, kritisiert hohe Mieten und erwähnt gleichzeitig den Duft von Jasminbäumen sowie die störende Präsenz der Polizei. In ,Common Place", umgeben von drängenden Drum-Machine-Kicks und Verzerrungen, singt er davon, wie er sich in einem 7-Eleven-Laden in der Innenstadt wirklich lebendig fühlt, um dann zwischen einer Tragödie, die er in einem Park miterlebt hat, und schönen Erinnerungen an das Leben in einer Wohngemeinschaft in Salt Lake City hin und her zu springen, bevor er sein neues Mantra verkündet: ,Es ist vorbei." Die Kontraste hier sind es, die diese Songs menschlich machen. Kleinman nahm DEMO 1 schnell und mit wenig mehr als sich selbst auf. Live übersetzt sich das dynamische Material von Begging Dog in eine siebenköpfige Band. Kleinman nahm DEMO 1 schnell und fast alleine auf. Live wird das dynamische Material von Begging Dog von einer siebenköpfigen Band umgesetzt. ,Egal, wie gut oder schlecht es einem geht, man sucht irgendwie nach etwas mehr", sagt Kleinman, ohne zu versuchen, eine größere Bedeutung in seiner Arbeit zu finden. ,Wenn ich über diese Dinge schreibe, versuche ich nicht, sie wichtiger zu machen, als sie sind." DEMO 1 profitiert von dieser geradlinigen, alltäglichen Bescheidenheit, die Offenheit mit Entschlossenheit und eingängigen Melodien verbindet.

After fifteen years in the making, and his first major body of work since his split with Calyx, TeeBee's debut album on Flexout is a testament to his enduring talent and dedication. This long - awaited release is a significant turning point, elevating his signature sound to new heights and solidifying his place as a pioneer in the drum & bass scene.
The album is a true love letter to the genre, meticulously crafted and rich with the experience of a seasoned veteran. It showcases a refined and evolved sound that is both a nostalgic nod to his roots and a bold step into the future. Each track is a masterclass in production, demonstrating TeeBee's unparalleled ability to weave intricate soundscapes and powerful rhythms. This isn't just an album; it's a monumental comeback, a triumphant return to form that will undoubtedly resonate with fans old and new.

Forged between Germany and a war-torn Ukraine, the 'The Grid' EP sees Drum & Bass duo KRÆK & NickBee overcome conflict and blackouts to deliver four tracks of defiant, cutting-edge dancefloor energy.

Black Retail VersionMarshmellos mitreißender Nachfolger seines bahnbrechenden Debüts ist zum ersten Mal überhaupt anlässlich seines 10-jährigen Jubiläums auf Vinyl erhältlich, eine hochkarätige Fortsetzung, die Marshmellos Stellung als globale Dance-Musik-Ikone festigte.
Während Joytime uns in das Chaos von Mellos Welt einführte, legt Joytime II mit härteren Drops, helleren Synthesizern und noch mehr unerbittlicher Energie noch einmal nach. Vom explosiven Opener „Stars“ bis zum euphorischen „Tell Me“ glänzt Marshmello in jedem Track mit seiner Beherrschung von Future Bass und melodischem Trap, ohne Features, nur mit purer, ungefilterter Mello-Verrücktheit.
Mit dem Smash-Hit „Check This Out“ präsentiert sich Marshmello auf Joytime II von seiner selbstbewusstesten Seite und liefert Festival-Hymnen, die für maximale Lautstärke gemacht sind.

Feiern Sie ein Jahrzehnt Mello-Magie mit Joytime II – einem Meilenstein der Dance-Musik, der nun zum ersten Mal auf Vinyl verewigt wurde.

Jazz piano, upright bass, and mellow percussion set the stage for the debut release of The Deku Trio. Zelda and Jazz is a 12 track tribute to The Legend of Zelda: Ocarina of Time.



The Deku Trio is a new project from Rob Araujo (Chillhop) and Chris Davidson (GameChops) that elevates video game covers through forward-leaning arrangements for jazz trio.



Highlighting fan favorites like Song of Storms, Zelda’s Lullaby, and Great Fairy Fountain, The Deku Trio's coffeehouse-style reimaginings feature cozy ornamented piano arrangements, interesting reharmonizations, soulful basslines, and delicate drums and percussion. Music composed by Koji Kondo with character designs by award-winning comic author Riana Dorsey

A long-awaited dubplate finally sees the light of day. For years, heard only through a handful of the world’s most exclusive sound systems. Spirit World unites French dub pioneer Brain Damage with UK heavyweights Dub Dynasty (Alpha Steppa & Alpha & Omega), featuring the unmistakable voice of Tenastelin. Deep, meditative and powerful. A timeless vocal on one side, and a crushing, thundering dub on the other.

“One of the most prolific and inventive dub producers around.” Wire

“A serious player in the sound system world.” Mixmag­

“Obliteratingly heavy bass.” Q Mag

T.O.Y.'s new album, The Prophet, is passion, history, a vintage museum, and full of great songs that are waiting to be heard. T.O.Y. is a German synthpop and futurepop band founded in 2001 by Volker Lutz. Highlights include collaborations with Alphaville's singer Marian Gold ("Turn On!") and FAITHLESS drummer Andy Treacey ("Silent Soldiers"), blending T.O.Y.'s atmospheric sound with iconic voices from the electronic music scene. "The Prophet is something truly special. During the Corona pandemic, wrapped in isolation, we all needed consistency, a sense of comfort, and security. I found that feeling through sounds--the sounds I have known my whole life: the music of the 80s. Courageously and full of ideas, one song after another emerged. Motivated by the wonderful collaboration and friendship with Alphaville frontman Marian Gold, who kept encouraging me with words about how good this record was, the pandemic passed, and so did one year after another. Through my friendship with Faithless drummer Andy Treacey, I got in touch with Jonathan White, also a member of the Faithless family. A true genius on bass in live performances, he became part of the album as well." - Volker Lutz

Für Aesop Rock war der Satz "I heard it's a mess there too" zuerst nur ein Songtext, aber es dauerte nicht lange, bis ihn dieser Satz packte. Er kam ihm bekannt vor, wie ein Satz, den er in den letzten Jahren tausendmal gesagt hatte, wenn er sich mit Freunden in verschiedenen Städten austauschte und sie sich gegenseitig erzählten, wo sie gerade waren und was dort so los war. Je länger er über diesen Satz nachdachte, desto mehr wurde ihm klar, dass er der Kern von etwas Größerem war. "I Heard It's A Mess There Too" steht für Aesop an der Schnittstelle zweier persönlicher Bedürfnisse: dem Bedürfnis, sich hinauszuwagen und seine Umgebung zu dokumentieren, und dem Wunsch, in Verbindung zu bleiben - besonders wenn die Lage unsicher ist. Musikalisch betritt Aesop Rock auf dem Album Neuland. "Ich habe viele Jahre lang auf die gleiche Weise Tracks produziert", sagt er, "aber hier habe ich bewusst meinen Prozess geändert. Ich habe ein paar neue Tools ausprobiert und versucht, meine Beats klarer und minimalistischer zu gestalten. Die Drums sind reduzierter, die Basslines dürfen einfach für sich stehen, ohne dass zehn weitere Elemente darübergelegt werden. Ich wollte nicht, dass der Beat und der Gesang um Aufmerksamkeit konkurrieren - ich wollte nur genug, um eine Welle ins Rollen zu bringen, und nicht viel mehr, nur eine Stimmung schaffen, zu der ich mich bewegen konnte." Diese zwölf Songs markieren verschiedene Stationen auf diesem Weg des Experimentierens und der Suche nach etwas Neuem.

Für Aesop Rock war der Satz "I heard it's a mess there too" zuerst nur ein Songtext, aber es dauerte nicht lange, bis ihn dieser Satz packte. Er kam ihm bekannt vor, wie ein Satz, den er in den letzten Jahren tausendmal gesagt hatte, wenn er sich mit Freunden in verschiedenen Städten austauschte und sie sich gegenseitig erzählten, wo sie gerade waren und was dort so los war. Je länger er über diesen Satz nachdachte, desto mehr wurde ihm klar, dass er der Kern von etwas Größerem war. "I Heard It's A Mess There Too" steht für Aesop an der Schnittstelle zweier persönlicher Bedürfnisse: dem Bedürfnis, sich hinauszuwagen und seine Umgebung zu dokumentieren, und dem Wunsch, in Verbindung zu bleiben - besonders wenn die Lage unsicher ist. Musikalisch betritt Aesop Rock auf dem Album Neuland. "Ich habe viele Jahre lang auf die gleiche Weise Tracks produziert", sagt er, "aber hier habe ich bewusst meinen Prozess geändert. Ich habe ein paar neue Tools ausprobiert und versucht, meine Beats klarer und minimalistischer zu gestalten. Die Drums sind reduzierter, die Basslines dürfen einfach für sich stehen, ohne dass zehn weitere Elemente darübergelegt werden. Ich wollte nicht, dass der Beat und der Gesang um Aufmerksamkeit konkurrieren - ich wollte nur genug, um eine Welle ins Rollen zu bringen, und nicht viel mehr, nur eine Stimmung schaffen, zu der ich mich bewegen konnte." Diese zwölf Songs markieren verschiedene Stationen auf diesem Weg des Experimentierens und der Suche nach etwas Neuem.

Sermon On The Rocks is Josh Ritter's eight studio album, released in 2015. Singles from the album include "Getting Ready To Get Down" and "Homecoming." According to Ritter, the album is "messianic oracular honky-tonk." Produced by Trina Shoemaker and Josh, the 12-song album was recorded over two weeks at New Orleans’ The Parlor Recording Studio and features Matt Barrick from The Walkmen on drums, Zachariah Hickman on bass, Josh Kaufman on guitars, and Sam Kassirer on keyboards. Josh Ritter is the definition of an experienced songwriter. After graduating from Oberlin College in 1999 Ritter devoted his life to a songwriting career, releasing albums independently and garnering word-of-mouth popularity. He eventually caught the attention of Irish- songwriter Glen Hansard (writer of the song 'Falling Slowly' from the movie Once) and was invited to be the tour opener for his band The Frames. This then resulted in Josh gaining international success, with his third record 'Hello Starling', becoming a charting hit in Ireland. His songs have been featured on the TV show Parenthood, and in movies like The Other Woman and Typeface. Josh Ritter has so far released 7 studio albums, is an author, husband, father, and is considered one of the best living songwriters by Paste Magazine.

2025 has been the comback year of Borrowed Identity! Nearly a decade ago, this super talented producer and DJ from the German Black Forest was omnipresent. Crafty beats, driving basslines and a deep raw feel was his tradmark then. And still is! After his collab EP with the Mechanical Soul Brother some months ago, it’s now time for a full solo EP called „Reminisce“. 4 tracks of powerful and raw House music, Borrowed Identity style! He’s back to stay!

Only disc two ! Sides C and D !

As one of the Netherlands' most famous saxohonists and the daughter of Hans Dulfer, Candy needs no introduction.

Big Girl is Candy Dulfer's third album and marks her transition to a sound more informed by funk, hip hop and R&B.

The album includes a collaboration with Trijntje Oosterhuis before she became widely known as a singer and features the single "Wake Me When It's Over", written by bass virtuoso Marcus Miller.

Big Girl is available as a 30th anniversary edition on white coloured vinyl and includes an insert.