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Designed for her 5 Hour extended sets and refined on dancefloors worldwide, "Can't Stop Loving You" - out today on slash - captures KI/KI's signature nostalgia-meets-future sound. Self-written and produced, it's an emotive trance burner built for peak time joy, unity and release, a sound that has defined her rise across global rave culture.

"Can't Stop Loving You" has become the closing moment in KI/KI's 2025 sets. From her Radio One Essential Mix, her two 5 Hours at the Woolstore, Melbourne - the only artist to ever do two back-to-back - to her AMF headline set to 40,000 fans at the Johan Cruijff ArenA! "Can't Stop Loving You" has been the emotional closer all year long.

On the track KI/KI says:
I wrote this track during the biggest heartbreak of my life. Back then I was working on music for my liveshow, and needed a track to close the show with. Can't stop loving you was the result.
Every note, every sound, every vocal helped me through how I was feeling and listening back now reminds me that eventually things will be okay again. The song evolves from an emotional track to an optimistic 172bpm banger and this perfectly describes my process - and maybe the story of almost every heartbreak?
This record is living proof to me that music can be healing. I hope it does the same for you

In just a few years, KI/KI has become one of the most exciting and influential voices in electronic music. She's sold out 20,000-capacity shows and graced the cover of DJ Mag. In 2026, she'll headline London, Dublin, Belfast, Paris, LA and NYC - all selling out in minutes.

With new music coming and her fanbase surging, "Can't Stop Loving You" now closes both her sets and her year - the emotional full stop on 2025 before an even bigger 2026.

Thrill by name, thrill by nature, Will Howard christens a new alias on his Kalahari debut.

Spitting venom straight out of the gate, this is boisterous sci-fi dramatixxx delivered with chest-out conviction. Dancefloor accelerators built for big rooms and planet-ending cataclysm. Fully letting the handbrake off.

An unfurling odyssey with noirish narrative and cybernetic detail woven throughout. Triumphant and exhilarating, yet an ominous thread runs beneath. The end times are nigh but we dance to ignore the coming storm.

Not your cookie cutter stuff. This is proper character – raw, fronted up and packing vigour for days. A boiling tempest throughout.

Turbulent velocity, but brimming with nuance and explorative detail. Afterburners deployed as we escape orbit at the last possible moment. Pure rocket fuel.

In continuation with the “Untitled” series, it is time to unveil the fifth chapter. 9-tracker with the talented artists which have gathered to make this disc come to life with the broad spectre of dancefloor ready frequencies that it contains. With some familiar faces and some new comers this is ready to be presented to the world of us music lovers that have big lust to non-standard beats. This LP is destined to land in the right persons hands who will treat the speakers rough and loud just how they should be treated with the material presented on it. The “Untitled” series continue thanks to the professional audio trips creators the spaceship sets space sails for the new edition soon.

LOS ANGELES—To celebrate the 40th anniversary of the celebrated Talking Heads and Jonathan Demme’s concert film Stop Making Sense, the set will be re-released as a 2LP and 2CD/Blu-ray set this summer.

Released last year, the sold-out Deluxe Edition of the soundtrack will return as a 2-LP black vinyl on Rhino and 2-LP crystal clear vinyl at retail. Both variants feature a 12-page booklet with liner notes from all four band members –Tina Weymouth, David Byrne, Chris Frantz, and Jerry Harrison—and band photos. The 2CD/Blu-ray version includes the entire 28-page booklet from last year’s Deluxe Edition and a Dolby Atmos mix of the complete concert, mixed by Jerry Harrison and E.T. Thorngren, who also mixed the original release. Both will be available on July 26. Pre-order now.

The band appeared together for a sold-out screening and Q&A last night at the Pantages Theater, the same theater at which Stop Making Sense was recorded. They were joined by Blondshell, who performed “Thank You For Sending Me an Angel.” Another special screening with the band will occur in Brooklyn at the King’s Theater on June 13, with the Q&A hosted by Questlove and The Linda Linda’s performing “Found a Job.” The two events cap off a banner year of celebrations for what many consider to be the best concert film of all time.

The inspiration for Stop Making Sense came when director Jonathan Demme saw Talking Heads perform during the band’s 1983 tour for Speaking in Tongues. Afterward, he approached them with the idea of making the show into a concert film. They agreed and worked together over the next few months to finalize the details. Ultimately, Demme filmed three shows at Hollywood’s Pantages Theater in December 1983 to create Stop Making Sense.

The concert film presents a retrospective of the band up to that point, with a performance that weaves together songs from all six of its studio albums. The show progresses methodically, opening with Byrne onstage performing “Psycho Killer” alone with a drum machine. After each song, he’s joined by a new band member until Weymouth, Frantz, and Harrison are all on stage with him. The group continues to grow throughout the concert as members of the stellar touring band are added: keyboardist Bernie Worrell, percussionist Steve Scales, guitarist Alex Weir, and backup singers Lynn Mabry and Ednah Holt.

The band performs 18 songs in Stop Making Sense, including its recent single at the time, “Burning Down The House.” That summer, the song was in heavy rotation on radio and MTV, helping the song become the band’s first top 10 hit in America. It was, however, a different song from Speaking in Tongues that was destined to deliver one of the film’s signature moments. Talking Heads would perform “Girlfriend Is Better” wearing the now iconic, oversized suit inspired by costumes worn in traditional Japanese theater. For good measure, a picture of David Byrne in the suit also graces the album cover.

Stop Making Sense focuses mainly on music by Talking Heads but does include a few songs recorded outside the band: “Genius Of Love” by Tom Tom Club, “What A Day That Was” and “Big Business” from Byrne’s 1981 album, The Catherine Wheel. Limited edition vinyl versions of both of these albums, along with Harrison’s The Red And The Black, were released for this year’s Record Store Day.

When it arrived in September 1984, Stop Making Sense was an artistic and commercial triumph. The film had people dancing in theatre aisles, and the soundtrack sold over two million copies. Just last year, the Library of Congress added Stop Making Sense to the National Film Registry in recognition of its cultural, historical, and aesthetic significance.

Weymouth praises Demme as a collaborator: “…Jonathan was a very enthusiastic, highly adaptive, and imaginative guy who was just as good a listener as he was a talker and collaborator. From the get-go you just got the impression he was as flexible as he was disciplined. Being team players, that boded well for a great relationship and a great film!”

Harrison says the film still holds up today: “To me, Stop Making Sense has remained relevant because the staging and lighting techniques could have been created in a much earlier time period. For example, Vari-Lights, lights with motors to re-aim them, had just come into vogue. Had we used them, there would have been a timestamp on the film, and it eventually would have felt dated...The absence of interviews, combined with the elegant and timeless lighting, created a film that can be watched over and over.”

Byrne says it’s interesting that this album was – for many people – an introduction to Talking Heads. “We had done a live album before this, but coupled with the film, and with the improved mixes and sound quality, this record reached a whole new audience. As often happens, the songs got an added energy when we performed them live and were inspired by having an audience. In many ways, these versions are more exciting than the studio recordings, so maybe that’s why a lot of folks discovered us via this record.”

Frantz recalls the sheer joy surrounding the entire Stop Making Sense experience. “I’m talking about real, conscious, transcendent joy… I’m talking about what the Southern gospel people call ‘getting happy,’ which means ‘to be filled with the Spirit.’ That is what happened to us onstage every night, and from my seat behind the drums, I recognized that this was happening to the audience too. Joy was visible in front of me and all around me every night.”

If – in some parallel universe (or perhaps a not-so-distant-future version of the one we’re already sentenced to living in) – the evil overloads of artificial intelligence were actually successful in their attempts to create convincingly enjoyable “original music,” more specifically tasked with wholly encapsulating my own personal tastes by data-chugging some cocktail of – oh, I don’t know – the posters on my wall, the records in my “most listened to” pile, the mixtapes I made for others, intensive physical scans of my auditory cortex, amygdala, hippocampus, heart strings, whatever else they have splayed out on their autopsy table with the intention of generating one all-encompassing “perfect band” based on the fruitful sum of their findings – that band, for me, would be (or would at least sound exactly like) the Tara Clerkin Trio. It is, quite simply, without exception, the music I wish to hear.

Formed in Bristol UK (where none of them are from yet all of whom are deeply engrained) in 2020, the Tara Clerkin Trio – as it somewhat democratically exists today, despite the singular authority implied by its name – consists of the titular Tara Clerkin, her partner Sunny Joe Paradisos, and Sunny’s brother, Patrick Benjamin. I’ll confess, I don’t know what their respective roles are within the operation and there’s only a very small part of me that cares to learn, as one of my favorite qualities in an objective listening experience is the mystery of who is playing what, which sounds are “authentic” versus synthesized, which chunks are performed “live” in a room together versus meticulously Frankenstein’ed from measure to measure, or how exactly the overall sound is so (seemingly) effortlessly achieved. Though, I suspect, if and when I do witness a live performance by this band at any point, my enjoyment of the music will not be lost in my better understanding of it.

With two extraordinary mini-albums – In Spring (2021) and On The Turning Ground (2023) – making a splash on London’s formidable World of Echo label in wake of their self-titled 2020 debut, this upcoming Somewhere Good LP is, in many ways, the band’s most realised work. In running their usual gauntlet of idiosyncratic (*an overused adjective for which here there is regrettably no sufficient alternative) approaches, Clerkin & co. colour in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener’s imagination – all while somehow sounding more like themselves than ever before.

Of course, there are traceable influences herein, if one felt that such comparisons were necessary to properly examine and enjoy this music (they aren’t)… Being the big dumb American from the small boring town that I am, cornfed on ‘90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can’t help but to make a blatantly obvious reference to a “Bristol sound”, ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You’re Feeling Sinister, or – in expanding on our alternate reality – a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).

The hazy, unmappable skyline-mirage of droning harmonium, upright bass, peculiarly accentuated wind instruments, acoustic guitar, hushed yet literally mighty keys combine to hypnotizing effect. The band may make underlying nods to jazz, sure, but it’s not appropriation, it’s that they have the actual chops to build it out. Beneath the janky samples and oddball percussive embellishment lies actually great drumming. Beyond the manipulated vocal witchery and woefully reflective plain-spoke moments are Tara’s subtly inspired melodies, sung with what might honestly be the glue to the whole crazy equation. A calming consistency throughout the otherwise unpredictably dynamic, boldly intuitive, uniquely British exploration of this (their own) universe in song. – Ryan Davis (Chicago, February 2026)

After a sold out first release, NY’s Superflux is back for Round Two with a debut release from arguably the most unsung hero of the Midwest underground. Uplink is a REDACTED-based hardware specialist known for their work running a series of labels and organizing parties that have helped define the region’s sound for more than a decade. Crafted using time-honored tools of the trade, these four dubby, tracky, and raw cuts – lifted from live stereo board recordings – will sit comfortably alongside releases from STL, Skudge, and MRSK.

The A1, Audio Sport, is a dubby groover with almost-steppy hats and bit of bite; a reverb-drenched lattice of delayed pads bends your sense of time and space until you realize you’re 12 hours into the warehouse function and someone’s just thrown a piano off the roof. A2, Blue Untitled, is a deep stomper reminiscent of the early WAX records. A big & shifty bassline turns this into a true head-nodder. B1, Temporary Machine 1, is a more subdued dubbed-out tech house cut anchored on a rolling bassline and flanked by dusty percussion and prescriptive stabs. Proper warm up tackle or hazy after-afters fodder: the choice is yours. Connoisseurs of a fine B2 rejoice – this one is it. Dokta is a moody, tripped out late night techno affair with a dash of bounce for good measure. All that hisses is gold.

Written by Colin Boardway

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

2026 REPRESS

New repress of the first album "Midnight Walkers". We have used the same vinyl metal works as the first 2012 pressing.

After several releases on 7 and 12inch, Stand High Patrol, the french crew of Pupajim, Rootystep and the legendary Mac gyva is back with a long awaited LP. With strictly brand new killer dubadub, digital and hip hop tracks including crazy echos, “Midnight Walkers” is totally unique! It contains all elements of a Stand High live session and offers an evolving dubadub. With the crazy voice of Pupajim and totally timeless dubs, the first album of the three “dubadub musketeerz” deals with the particular originality that made of Stand High Patrol one of the toughest dub sound system of France. Every bass addict and every dub fan should enter the Stand High experience. If you are ready, fasten your seat belt and run the track! We hope that you will enjoy the flight!

If art is to be exhibited, then Ulrika Spacek will ensure that their art is collective; that even as the world becomes inhospitable to community, their intentions are an act of resistance.

Whether it is Oysterland, the self-curated night the band have been Hosting for over ten years to platform artists of other disciplines in live music spaces, or Total Refreshment Centre, the East London studio Syd runs which connects the dots between the jazz scene and like-minded experimental artists of the capital and beyond, or their creative bleed as musicians and producers over the years with the likes of Crack Cloud, caroline, DIIV, Holy Wave and Slowdive, the band’s existence is inseparable from their community.

In a hyper-individual world, the band’s fourth album, ‘EXPO’, offers an antidote. It’s there, in the shared dream logic of the music, the off-kilter melodies, jagged guitars and cirrus cloud atmospherics. It’s there, in all the things that are said and unsaid between them; there in the writing, producing and mixing processes they share in. And even as each of their parts Moves toward a unified vision, it’s never more keenly felt than in the bigger Picture to which Ulrika Spacek belong.

Though their well-established foundations are in the art-rock world - and though they are inspired by electronic elements more than ever - Ulrika Spacek are interested in the glitch that exists between the two. Their Music reckons with human warmth and digital isolation, equal parts welcoming and altogether alienating. “Our music has always been a collage - a bit patchwork, sonically - but what makes this album a landmark for us is that we went one step further and made our own sample bank,” explains singer / guitarist Rhys. They create their own doppelgängers in a world of almostreal, where the band appear as if in a hall of mirrors. Digital drums are sampled layered upon real drums, and the effect is almost like birth in reverse - pulled from the ether and returned back to the tangible world.

“There’s a lot that can be said about writing when there is no aim, there is a freedom and a purity in it which opens a door to more music, and in this case, it set a mood for a new album, one that would be colder, darker and one that would embrace electronics and new instrumentation in a new terrain,” the band share. “The album’s greater theme is isolation and alienation in an online world where it seems everybody around you is constantly exhibiting themselves, living in public wanting to be seen and heard. The age of ‘individuality’ is lonely, it’s a room of concave mirrors, and with this in mind, we set upon making our most collective effort; ‘It’s back to strength in numbers, count in fives.”

For fans of Radiohead, Moin, DIIV, Astrel K, Slowdive.

LP presented on Crystal Clear vinyl.

Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 2 compilation featuring a further selection of iconic hits that have shaped the global electronic music scene.

Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.

This edition of Spinnin' 25 Years...Chapter 2 double vinyl LP collection includes the hits "Lay Low" by Tiësto, "Turn Up The Speakers" by Afrojack & Martin Garrix, "Satisfaction" by David Guetta & Benni Benassi, "Intoxicated" by Martin Solveig & GTA, "Gecko" by Oliver Heldens, "Sex" by Cheat Codes x Kris Kross Amsterdam and 25 more tracks showcasing their signature sound and major contributions to the label.

Spinnin' 25 Years...Chapter 2 is available as a limited edition on blue vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.

Argentinian newbie Guile bossing it on the debut proper.
 
Moving mad from the off. Real ones will have been acquainted via last year’s ‘Access’ EP cameo, otherwise, you better get to know. 

Fellow ‘Access’ alumni Boss Priester and DJ Life tore it up with their respective solo EPs, and not to be outdone, Guile is taking on all comers. Expect some of the rudest incursions on the label to date rubbing shoulders with unreservedly utopian gear. 

Some shades of Rolando, AKA The Aztec Mystic, as the anthemic potential shines through on ‘Funky Rain’. Elsewhere, he’s fronting up with Euro-centric party-starters, third portal acid prog and 808 breakbeat menace. Dancefloor wreckers front to back.
 
Having only emerged in 2024, the hit-rate over such a short period is nothing short of prolific. Big flex.

Perro Bueno is back with a sixth volume of edits that will only heighten his reputation in underground circles. Side A's 'BLRF' brings big but raw jazz-funk energy thanks to the blazing horn and that unmistakable Bueno swing. Flip it over, and 'NFSA' unearths a long-lost Afro groove that has been lovingly reimagined with deep respect for its roots and a sharp ear for the dancefloor. The art here is merging crate-digger nostalgia with fresh club energy that cuts through contemporary dance floors. Bueno's groove is also a defining factor and unstoppable as ever as his edit story keeps on rolling and keeps it thrilling.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

It’s True What They Say is the debut EP from Edinburgh-based, husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), aka Sarah and Shaun McLachlan (pronounced “McLochlin”).

“Sarah and I both have a love for nostalgia,” explains Shaun. “We watched that amazing old 80’s Sci-Fi, (John) Carpenter movie, Starman, a few months back. Myself and my brother David used to watch it all the time. We must have been, roughly, 5-7 at the time. I remember loving the movie but the end, you know, with the beautiful, atmospheric, synth ending, I love that particular moment the most - best part of the movie, you know, when he goes home… It’s heartbreaking but stunning, all the same. It’s the music that moves you most… It did when I was 5 and it still does to this day. It must have had some form of a (much deeper) impact on me.”

The duo narrates stories across themes of love, hope, family, friends, dreams and sadness - the good that comes with the bad in everyday life, not just on a personal scale but within a community as well.

“Starbed is the first song I have ever written and just came out of the blue really, with Shaun playing a melody and me singing along,” says Sarah. “It’s simple and just about two people in love. Love songs are always the best songs, after all… Music has been a big part of my life from a young age. I was unwillingly dragged to piano and violin lessons, which I’m thankful for now! I’d say the first band I really became obsessed with growing up were the Beatles, and on the back of that a lot of 60s music and fashion. From then on, I had a love for music.”

“Shaun definitely opened my ears to a lot of sounds and got me thinking about soundtracks and all the noises that can be made,” she goes on. “We love just spending time experimenting in the house with instruments, pedals etc and Ali is a real magician to work with, too…”

The recordings took place over the summers of 2022 and 2023, with fellow Delta Mainline member Ali Chisholm (aka Jaguar Eyes) plus long-term friend and collaborator Gavin King. Further collaboration then came via the ‘net from the (international) likes of Chris Dixie Darley (Father John Misty), Darren Coghill (Neon Waltz) and Daniel Land (The Modern Painters), among others (see a full list of credits below).

Both Sarah and Shaun have a love for uber-soundtrack producers such as Hanz Zimmer, Max Richter, Cliff Martinez plus live acts such as Beach House, Spiritualized, M83, Suicide, Moby and OMD (to name a few). Shaun also credits the work of Kyle Dixon & Michael Stein (from Survive) on the Stranger Things score… “Even a moment in a movie, whether it be just 30 seconds during a particular scene, it grips you,” he says. But there’s something much deeper at play as well. “Music is a healer,” he goes on, “and I write from my own perspective but more so for others. Once I've done my bit, it doesn't belong to me any longer. It belongs to whoever wants it or needs it.”

The result is a cinematic, synth-wavey, dream poppy and downright beguilingly beautiful body of work. And they’re just getting started…

REVIEWS/RADIO/FEEDBACK:

“Starbed is folky, flavoured by pedal steel, cello, and brass. Dust Tears, in stark contrast, is a mini synth-pop rave epic. Part Bicep. Part Human League. Keep Your Eyes Closed summons a mood that’s romantic, but also dark and potentially doomed – like David Lynch’s Twin Peaks meets Cliff Martinez’s Drive score. My pick though is It’s True What They Say, whose interwoven jangle and picking recalls New Order’s more introspective moments (Love Vigilantes, Love Less… ). Drums crashing, cathartic. Guitar raising dramatic arcs. Its chorus a rush, like a reprise of Pains Of Being Pure Of Heart’s ‘Higher Than The Stars’.” BAN BAN TON TON
"Dust Tears sees them sharing vocal duties over a synth foundation reminiscent of Moby’s Go - Artist Of The Week” THE SCOTSMAN
"Woozy pop" NEMONE (Mary Anne Hobbs Morning Show, BBC 6Music)
"Nice one, very David Lynch meets Euro dream pop" YOUTH (Killing Joke, Paul McCartney, U2, The Orb, Spiritualized etc)
"Music sounds killer! Real emotion” DAVID HOLMES
"I’m enjoying it” TIM BRINKHURST aka LONDON (IKLAN, Young Fathers, Callum Easter)
“Oh, this is lovely!” SEAN JOHNSTON (A Love From Outer Space)
"It’s totally my cup of tea with milk and biscuit" BRENT RADEMAKER (Beachwood Sparks/GospelBeach)
"Beautiful, ecstatic electronica! Short and to the point" KEVIN BALES (Spiritualized, Julian Cope, Soulsavers, BE)
"Makes me wanna sit in the sun and sip an Arnold Palmer" CHRIS DIXIE DARLEY (Father John Misty)
“Really beautiful - Cocteau Twins / Spiritualized vibes but has its own thing going on, too - worth checking out!” JULIAN CORRIE (Franz Ferdinand, Miaoux Miaoux)
‘Sounded nice on a sunny day, makes me think of Twin Peaks, nice moods’ EAMON HAMILTON (Sea Power)
"Dealing in nostalgia, no bad thing at all, great to play that (Dust Tears) for you” RODDY HART (BBC Radio Scotland)
“I'll give the vocal tracks a spin before the release." VIC GALLOWAY (BBC Radio Scotland)
"Rather good!" IAIN ANDERSON (BBC Radio Scotland)

CREDITS:

Lyrics, Guitars, Keys, Synths, Drums, Drum Programming, Percussion, Mandolin, Glockenspiel: Shaun McLachlan
Lyrics, Vocals, Keys by Sarah McLachlan
Guitars, Synths, String Arrangements, Drum Programming, Engineering: Jaguar Eyes Percussion/Drums/Effects, Fire Extinguisher: Darren Coghill (Neon Waltz)
Guitars by Daniel Land
Slide Guitar by Chris Dixie Darley (Father John Misty)
Brass by Bruce Michie
Keys, pre-production & engineering on “It’s true what they say”: Gavin King
All produced by Jaguar Eyes and Shaun McLachlan and then mixed at Glasgow’s Chem19 Studios by David McCaulay (From Scotland With Love, Rick Redbeard, BBC TV’s Attenborough and The Mammoth Graveyard score).
Artwork: Jamie Walman (Fourteen Admirals)

MORE INFO:

Although Shaun released a pair of solo singles (When We Dance and Give Your Love To Me) during Lockdown, he will be better known to many via his work as the multi-instrumentalist in Edinburgh band Delta Mainline. With two albums released to date, Oh! Enlightened and Bel Avenir, both rapturously received by fans and critics alike, Delta Mainline have developed an international, cult following. Oh Enlightened (2013) achieved widespread critical acclaim on release, earning the band comparisons to Arcade Fire and Echo & The Bunnymen, while 2019’s Bel Avenir pulled in references to The Flaming Lips, Pink Floyd, David Bowie and krautrock. A third DM album is currently being mixed and due for release later this year…

Multi Culti seasonal balance returns with Equinox III Kicking things off Guadalajara-based Bofo Dab (known for their blog 'Drops a Banger') does what their name suggests. This one has been getting caned by the Keinemusik crew, legions of phone-holders' shazam-prayers will only now be answered. It's a restrained big-room horn-loaded banger. Mehmet Aslan slides in to the proceedings with an awesome FM-sounding heads-down slice of clubby introspection. Long-time cult-hero Gilb'R of Versatile records fame spaces out the side with a deep, sparkly, live synth jam. On the flip, Mytron brings a fun stripped-back cover of a stone-cold classic with Higher (state of consciousness, that is). Brazillian hotboy Niev sounds right at home on the label with the aptly titled 'Professor Banjo.' Yuki Miyauchi lends an ethereal 90s bleep-inflected chunk of vibe with 'Donkey Conga.' Finally, fellow Japanese but London-based DJ Himitsu drops the deep, rollicking 'Waterfall.'

Rising star Storm Mollison lands her debut on Heist with an ep blending House & R 'n B and we're completely hooked.

The future is looking bright for Storm Mollison - Heist's newest. Marked as artist to look out for by Shazam on their fast forward 2026 list, Storm's got a bright and busy year ahead, after an already big 2025. Last year alone, she featured on Kiki's hit 'Getting ready for the party', featured on a Mixmag London event and a Raw Cuts X Heist ADE party, had her first cover feature on Spotify, multiple radio 1 appearances, released several singles, a full EP on Noir Fever and a Luuk van Dijk remix.

If that's not enough to get you excited, we suggest you just listen to her 'Act like that' EP on Heist. In Storm's own words: "it's the most exciting music I've made so far" and we couldn't agree more. Her EP is a perfect blend of her love for house music and soulful R 'n B with its 4 tracks smothered in deep chords, smooth vocals and crunchy textures.

EP opener 'Doing Sumthin'' has been a staple in Dam Swindle's sets ever since receiving Storm's first demo and has never failed to make the crowd bounce from left to right with its quirky and equally cool vocal courtesy of Aaron Pfeiffer. Sometimes, you just need someone to tell you which way to move and before you know it, the whole club is doing it. The beat is chunky, and the sax lick is a nice wink to the old school house that has influences Storm's sound so much.

Act Like That - the EP's title track -, is a modern R' n B song that could have easily been on Rochelle Jordan's latest album. The lyrics are perfectly delivered by Storm herself and celebrate women who stand up to unreliable men. It could well be the badass soundtrack of womanhood for 2026 delivered in a silky-smooth package that'll live rent-free in your head for the foreseeable future.

On the flipside is "Gotta Go', an undercover dancefloor burner with lush keys and a lean-back groove. The track relies on crisp textures and little frizzles all throughout the track, with a big breakdown for ultimate release.

Ep closer 'Workin' takes us back into R 'n B territory, this time in a very danceable form. Storm's soft vocals lie on top of a steady beat with deep chords and a bassline so sexy It'll make you get down no matter where you're hearing this.

It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but if we're talking about her music, this will be the record that people come back to after years and say, "remember when she releases ALT!?"

As always, enjoy the music and play it loud!

Yours, Maarten & Lars

Ben is a Detroit-based producer who makes up half of Symptoms of Love, along with BPT records alum Ryan Spencer. He here brings us a 4 tracker of the absolute highest order. It both sounds like music that no one else is making, while also sounding like a pastiche of everything that you've ever liked in the past. The magic formula baby!!!!!!! Shall we walk thru the music together?

BPT founder and music's #1 man Jeremy Castillo has described the EP absolutely brilliantly as such: "YMO style dissonant electro with a Detroit touch on the a side, with pitched down Patrick Cowley psychedelic Macarena on the B-side.

The A1 and title track is an incredible statement of intent from Ben - it really does sound like if Hosono grew up in Detroit listening to Electrifying Mojo. It's an absolute blast of sunlight coming through your headphones. Press play and watch your vitamin D levels rise baby!!!

A2 cut "Music Remembers" is a groovy joy ride reminiscent of Galaxy II Galaxy, complete with re-pitched vocal chops and 808 claps galore. This will hit SO hard on a spring day if you live in a city currently blanketed in snow.

On the flip, B1 "Whose Water" will be a big hit with anyone who dug Dam Funk's Garret project. Introspective downtempo synth fans rejoice!!! And we wrap a stellar outing with B2's "New Sun" - a propulsive Cosmic workout that will open up any dancefloor. The psychedelic Macarena is right baby!!!

Jack’s House Recordings kick starts 2026 with a brand new VA featuring talent from all corners of the globe, with artists coming from Portugal, to Australia, the USA and Ibiza !

First up is Alex Arnout with “Baby Let You Know” which is another solid production giving punchy and techy energy with a baseline that will wake you right up when it drops in ! It’s dark, edgy, and has a powerful signature sound that is perfect for the big dance floors as well as your underground intimate ones. Alex is no stranger to the imprint, having been the first artist signed to the label which is about to celebrate it’s 10th year as an independent record label.

Next up, we welcome back popular and talented producer Carlo Gambino with “Time Of Need” which takes you through 6 and a half minutes of a lovely gritty underground groove, and vocal snippets of the track title throughout the arrangement with his warm and unmistakable signature sound.

Then we have AMO (um) & Mills with the more minimal track of the VA, “Therapy” This is a stripped back track but instantly memorable after just one listen. Driven by a simple kick, snare, haunting fills and a riding dark baseline, the track also presents a conversation between two Women having a slightly confusing conversation in a therapy session.

Last up, it is a pleasure to introduce and welcome USA’s Jordan Bernardo & Sharktooth from the Tasteless Thieves crew to the label with their excellent collaboration on the track “So Sorry” This is the light on the VA with this massively uplifting infectious groove. The track is giving skippy swinging beats, filtered vocals which tease in and out of the arrangement, and a great energy that takes you back to the early 2000’s era.

In a nut shell, this fresh Jacks Tracks VA offers 4 unique tracks that can serve any DJ at various points of the night, from warming up, a hands up moment, 3am pushing energy, and a perfect afterparty vibe too. That is always the aim with the Jacks Track VA series, to give vinyl buyers a bit of everything while maintaining talent and the nature of the underground.

Disco legend Sylvester comes to Dark Entries with Private Recordings: August 1970, an intimate collection of vintage jazz, blues, and gospel. While Sylvester is best known for his chart-topping collaborations with producer Patrick Cowley, such as “You Make Me Feel (Mighty Real),” this release reveals his passion for the sounds of the 30s and 40s. In 1970 a 22-year-old Sylvester had moved to San Francisco and found himself involved with the Cockettes, the infamous psychedelic performance art troupe. Among this milieu was Peter Mintun, a pianist and record collector living in a commune devoted to retro culture. According to Mintun, “We were like hippies who lived in the twenties. We lived in a house that didn’t have anything modern in it. Nothing in it was made after World War II.” Mintun and Sylvester bonded over their love of Black singers of yore and were allotted a slot during Cockettes performances reviving the music of the Prohibition Era. One afternoon, Sylvester and Mintun recorded a number of their shared favorites using a high-end microphone a friend had acquired. Private Recordings features 9 songs from this session, including standards like “Stormy Weather,” “Happy Days Are Here Again,” and “God Bless the Child.” Sylvester’s unmistakable falsetto brings depth and a dash of camp to these familiar tunes. The recordings are casual and intimate, even capturing banter between Sylvester and Mintun; their brief rendition of “When My Dreamboat Comes Home” has the duo working out a melody in real time. In addition to their sonic explorations of decades past, Sylvester and Mintun also staged photographic shoots in vintage couture. Private Recordings comes with a 16-page booklet on firm cardstock featuring images from these never-before-seen shoots as well as liner notes from Mintun detailing his friendship with Sylvester and their experiences recording. All this is housed in a metallic silver sleeve designed by Eloise Leigh featuring a 1920’s Art Deco aesthetic. The record will be released on September 6th which would have been Sylvester’s 76th birthday, and all proceeds from Private Recordings will go to the two charities that Sylvester left his royalties after his death: Project Open Hand and PRC (formerly AIDS Emergency Fund). This essential release documents the earliest known recordings from one of disco’s greatest talents.

Absolutely killer 11 track double pack of raw techno missiles from Bari, Italy's hero, DJ Plant Texture. Ultimate club gear that will do total damage anytime, anywhere. No nonsense, committed to the art of music..no false idol worship...just blistering cuts made to mix and send em' into a frenzy. Big tip!

Based in Rennes and founder of the Vives label in 2020, Weever has been exploring the interplay of light and shadow for over 10 years, crafting abstract soundscapes and textured sonic tunnels of unparalleled musical breadth. He elegantly blends industrial and baroque sounds to construct sonic cathedrals. His music is both utterly raw and meticulously crafted.

L’âge de la Galère :

started this EP in 2020. At the time, I had just finished my studies, it was a pretty difficult period and I had made a track, or rather a melody, that I thought was amazing. I held onto it all these years without ever releasing it. 2020 was a tough year overall. The big question was: What am I going to do with my life? Hence the title L’âge de la Galère

The title really started to make sense when I began putting tracks together for Micheal. Around that time, I was reading Those of 1914 by Maurice Genevoix. For those who don’t know it: it’s written as a journal and tells the story of the author and his fellow soldiers in the trenches during World War I.

I’ve always been passionate about the two World Wars, I watch every film, old and new, I listen to the soundtracks, and so on. Same with period films, especially medieval ones. I love drawing inspiration from them.

So naturally, I imagine and create around that. It comes easily because it’s always been my universe. And when I make music, those kinds of images inevitably come out, even subconsciously.

So I created and told an audio story through my 6 tracks.

“It’s 1914. The story of many men who, upon hearing the sound of the bells, are met with the announcement of a war like no other. Most of them are young, some very young, and they are drafted into the French and German armies. They have no military experience, and the first battles are so violent that many won’t make it back. Very few will earn the glory they deserve.

The conditions are appalling, everything is in short supply, and the men are exhausted. Still, they must hold on.
Leaving carelessly from beneath their mothers’ skirts, too few returned. Many were left traumatized, and an entire generation was forever changed.”

Originally released in 1994, MSD - Moonboom is a true cornerstone of Irish dance music and one of the defining dancefloor anthems of the '90s. Fusing Techno, Progressive House and raw 303 energy, it became a staple on floors across Ireland and beyond, a track whose power has only grown with time. Now beautifully remastered and repressed on the newly launched CeltTribe label, Moonboom returns sounding bigger and sharper than ever. Created by Fintan McDonald alongside Dublin DJ Liam Dollard, with Paul Clifford and Peter Coss present during the original mixdown, the track was produced on a Tac Scorpion desk using Akai S1000 and S950 samplers, capturing the raw, hardware-driven spirit of early '90s dance music. Originally released on the Inner Conscience label, this reissue celebrates Ireland's underground dance heritage and is expanded with a strong set of 2026 remixes. The "Love Will Save the Day" Remix delivers a piano-led '90s House groove with nods to New York and Chicago, reflecting the deep Irish house sound loved in Cork and Waterford. The Lanzatech Remix is a tribal, acid-fuelled slammer driven by reworked piano, 303 lines and Detroit-inspired synth pads. Collie's "Midnight" Dub dives deeper into jazzy, hypnotic territory, while Ian's Techno Mix pushes Moonboom into darker, harder underground space with reimagined piano and vocals. A timeless Irish classic, respectfully reimagined!

2LP Repress!

The legendary partnership of NYC's Disco godfather Tom Moulton and Philadelphia International Records has long been documented.
A truly explosive collaboration that yielded endless classic tracks for dancers and deep listeners alike, Moulton seemed to be totally in tune with the labels output and the direction it should go in. Luckily we've been enjoying the fruits of this labour for the last 30+ years with a lot of these PIR classics becoming ingrained in the psyche of the modern day music fan as the building blocks of House music.

Another stellar volume of what is an essential purchase for any Disco lover. Featuring a host of legends from the height of the Philly era and beyond - Archie Bell & The Drells, People's Choice, Lou Rawls & Teddy Pendergrass are all graced by Tom Moulton's supreme ear on this special PIR reissue 2 x 12" that see's some all-time classics from the aforementioned artists in their full, unabridged, unedited Disco glory. The selections on this EP are absolutely top-shelf, flawless in fact. One could argue that these are the 'definitive' versions of these anthems. Pure Disco gold essentials. Anyone with even a passing interest in Disco will most certainly need this record in their possession, the 2012 pressing of this EP is super in demand among those in the know and it can change hands for big money in the used record world, time, undoubtedly, for a repress.

These tracks are fully licensed and reissued in conjunction with Tom Moulton and PIR and all relevant rights holders. Remastered from original source materials to the highest spec and pressed onto top quality vinyl, courtesy of Above Board distribution for 2019.

Some big names feature on the second volume of ENSOULED's 'Freedom, Innovation, Resonance' series, and they serve up suitably profound sounds. Dutch mainstay Orlando Voorn gets the hairs standing on end with his 'Deeper', a sumptuous blend of soft synths, undulating rhythms and spiritual keys. The Cee ElAssaad remix has still soft edges but a little more upright groove, and then Chicago legend Boo Williams cranks it up further with his loopy, melodically intense 'Loose Cannon'. Lastly, Nawfel's 'Fight Or Flight' is a textural deep house affair with mechanical, rigid rhythms softened by the lush pads. It echoes greats like Omar S and Theo Parrish and closes in style.

Indiana Jones never dug this deep.
Church – the brainchild of Joe Washington – were a band both lucky and cursed to come up in the seventies. Lucky, because they rode a wave of community activism, uplifting messages and a moment when music truly mattered. Cursed, because those same times meant their tight, heartfelt output went overlooked.
Mid-sixties to circa 1980 soul and funk were extraordinarily rich. The era’s big releases have aged like fine wine, yet countless hidden gems remain buried. Church’s only single was one of them. Their hypnotic 1976 release “How Long” b/w “Da Da Song” arrived the same year as Stevie Wonder’s Songs in the Key of Life, Marvin Gaye’s I Want You, Diana Ross’s Diana, and at a time when Black mainstream music was shifting toward disco. Church, however, sounded like Sly & The Family Stone in an alternate timeline — gritty, focused, stripped of additives.
“Da Da Song” is pure grits and gravy: furious, tight drums and lyrics that sound like both a plea to DJs to play their record and an insistence to keep the party alive, noticed or not. It cooks from start to finish in just two and a half minutes.
“How Long” is its own universe. Where “Da Da Song” is skeletal, “How Long” blends key strands of Black music in under three minutes: touches of spiritual jazz with a Gary Bartz-like sax, gospel-blues undertones, and echoes of the era’s flower-power-tinged Black creativity — The Undisputed Truth, The Family Stone, even the poetic freedom of Nikki Giovanni. The lyrics are a timeless plea for love.
Church formed in the Bay Area in the early seventies, shaped by the movement, culture and activism of the time. Joseph Washington, based in San Jose, never chased a music career — for him, music was a way to bring people together. Before Church, he led a backing band called Wash, then added gospel singer Linda Williams (née Stephens) and New York–born Joel Como on xylophone to complete the group.
They rehearsed in Joe’s garage, spread through word of mouth and played every gig they could: Black colleges, opening slots for The Whispers, neighbourhood house parties. Some members studied at Nairobi Junior College in East Palo Alto, then a hotbed of Black community activism, with revolution in the air and messages woven naturally into the music.
This single is a message from that era, resurfacing at last — ready to be sampled just as another Joe Washington track, “Look Me in the Eyes”, was on Drake and J. Cole’s “First Person Shooter”. These rare, spirited tunes are begging for new life through samplers, again and again.

Les Enfants Terribles presents LETM011 by DJ Real Madrid with the new EP No Smoking:

Dear readers and listeners,

My name is Tillmann Ostendarp, others know me as DJ Real Madrid. I love to play instruments, I love to play with machines. And this is something I did in May 2024, when I spent one week in my beautiful studio. Over the course of the week I recorded „NO SMOKING“ which is going to be my first Vinyl Release as „DJ Real Madrid“. No Smoking contains 4 Tracks: „Ta Ta“ which is a Juno-driven deep homage to the god of funk „Johnny Guitar Watson“. „Leave It Be“ is a big percussive jam that tells you to mind your own business. When I knocked out „GGGGGG“, I invited Dino Brandao and Mel D over to jam on the microphone, which led to a dark humorous ode to the insanity of our world. The last track is called „Merlasco“ and brings back the hope that we all will come together in the morning sunrise!

Limited Edition Transparent Black Vinyl Version - 500 Units Only

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s The House Music Anthem (Move Your Body) featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

John Devecchi is The Owl and is well known to disco and funk heads for several great EPs and his superb Concrete Funk album from 2021. This one opens with 'I Can't Stop', which is a playful number with a deep funk vocal and big horns. 'Bad Bad Feelin' has a country feel with guitar picking and harmonica that infused the low slung beats, and last of all is a deep cut sound that is enriched with jazzy horns and lively funk vocals a la Parliament and Fatback band. All three of these will bring colour and charm to grown-up dance floors.

2025 Repress

The mighty Falsetto voice of Mr Cornell Campbell is another we believe, unsung hero of the Jamaican music scene. Who in our opinion should have broke through to a wider audience, than his cult status currently provides. We have unearthed straight from the master tapes an album that was due for release around the mid 70’s. A few of these cuts, found their way out on limited 7”s, that were mainly for the domestic Jamaican market. But as a complete body of work, never found a release until now. We hope like us, once you have played the tracks, you will feel that this set of cuts, stands up amongst Cornell’s finest work. Cornell Campbell (born 1948, Jamaica), made his first recordings in the early 1960’s for Coxone Dodd at Studio 1. Tracks like ‘Under the Old Oak Tree’, ‘My Treasure’ and later as a duo with Roy Patton ‘Salvation’ and ‘Sweetest Girl’, were local hits on the Jamaican Sound Systems. A short spell with the Uniques was followed by his roll as lead vocalist with the Eternals, under the monicker of Don Cornell. Their finest moment being the classic ‘Stars / Queen of the Minstrels’ cuts which still stand up today as some of Jamaica’s finest.

The 1970’s saw Mr Campbell move on to work with producer Bunny ‘Striker’ Lee, for whom he cut most

of his big tunes. He and fellow singer Johnny Clarke, would become Bunny’s 70’s equivalent to his 1960’s stable of singers like Slim Smith, Pat Kelly and Ernest Wilson. They would provide the voice to his many hits of the day. Bunny not being called ‘Striker’ for nothing. Cornell also had a series of hits around his theme as the ‘Gorgon’. The mighty figure unbeatable at the dances in the Greenwich Town district of Kingston. ‘The Gorgon’, ‘The Conquering Gorgon’. ‘Natty Dread in a Greenwich Farm’. These were all firm favourites at the dances in Jamaica. He also worked with other notable producers around this time. Winston ‘Niney’ Holness “I Heart is Clean’, Tappa Zukie ‘Follow Instruction’

and culminating in a massive hit ‘Boxing’ in 1979 for producer Joe Gibbs. But it was his time with Bunny Lee that set the levels for his record output. This unreleased album is from this period in time, when Cornell Campbell never sounded sweeter......

Pilot Talk II is the fourth studio album by New Orleans rapper Curren$y, and follow up to his widely celebrated release, Pilot Talk. Originally released in November 2010, and initially only available on CD & digitally, Pilot Talk II was first pressed on vinyl and exclusively available in the Jet Life: Pilot Talk Collection Vinyl Box Set. For the very first time ever and after much anticipation from fans, Pilot Talk II will be released as a standalone vinyl product, exclusively available for Record Store Day Black Friday 2025 to celebrate the album's 15 year anniversary. Pilot Talk II includes standout tracks such as "Michael Knight," "Famous," "Hold On (feat. Trademark Da Skydiver & Young Roddy," & perhaps one of Curren$y's biggest solo songs, "Airborne Aquarium." Pressed on stunning Purple, Black & White 3 Color A Side B Side Vinyl and limited to 3000 copies worldwide, Pilot Talk II is a must have for any Curren$y or blog-era rap aficionado.

DJ Support: Oliver Dollar, Harri Subclub, Boogs, DJ Sneak, Pinto (NYC), Moonboots, Joey Coco, A.Well, Oscar de Lima, Dubble D, Charles Eddy, CA LOU

Tiptoes drops a 4 tracks with the help of Ben Silver on the remix to round out the Fire EP. Built for the club, Fire sounds its exactly how its titled, a club weapon with all heat from start to finish. My Love offers a refined deep house number for those who like to deep subtle and groovy. Switching gears on Sumn Raw, Tiptoes layers down heavy drums and sampling at its finest. This one will be a smash for those late night sets and Ben Silver offers up something special in his remix, encompassing what the 24 hour session at Revolver sounds like, big, bumpy and full of groove.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

IMPORTANT: These are often unplayed, sealed or barely played copies, but have been stored in a humid environment. Some copies might have slight storage damage like deformed sleeves or some mold. Even though a quick cleaning session of the item (if needed) will probably make it as good as new, these are still sold as is! HORIZON HAS BEEN ONE OF HIS BIGGEST HITS AND ONE OF COCOONS & SOMAS BEST SELLING VINYL. A MASSIVE HIT ON MOST FESTIVALS. ULRICH SCHNAUSS COMES WITH A GORGEOUS TECHHOUSE MIX. YOU ALL MUST HAVE HEARD OF TIGERSKIN AND HIS WELL CRAFTED MUSIC. THIS OUTSTANDING PRODUCERS COMES WITH A CLASSIC FLOORSTOMPER AMERICAN STYLE. THE FUNKDVOID MIX IS STILL ONE OF OUR ALL TIME FAVOURITES NEXT TO BEROSHIMAS SKYFLYER

The year is 1988. The Second Summer of Love is in full swing and A Guy Called Gerald was dominating the charts with “Voodoo Ray”, one of the first true house anthems and by far Gerald’s biggest hit. Later that year he dropped another 12” of the same pedigree together with producer team T-Coy featuring the legendary Haçienda resident DJ Mike Pickering: Dream 17. _x000d__x000a_A bit lesser-known than AGCG’s smash record, this EP is the perfect blend of the Madchester rave ethos and the early jackin’ sounds coming out of Chicago at the time.

Soulful vocals and playful drums coupled with one of the most recognisable 303 basslines ever programmed will transport you to those blissful dancefloors where nothing but the here and now seemed to matter. But, make no mistake: this record is as much about celebrating the past as it is about looking to the future, and will remain relevant for many years to come. _x000d__x000a_Annette – Dream 17 is now available as a limited edition of 500 copies on purple coloured vinyl.

Remix Ep with a broad spectrum of styles and some big named remixers. Side A kicks off with Colin Dale's remix of Dark Male, which is a typically throbbing techno cut for the dance floor, the Second track on Side A is David Duriez pushing an acid house remix of fellow French act G-Prod. On the flip is MOY's step into big bass and fast based breaks led drums which will make your head explode as they build their intensity, the second track is Derek Carr remixing The Vast Profound, his house rework offers all you might expect from this veteran of the scene - looped hooks and deep pads. Lastly The Vast Profound digs into the deeper end of house music layering up pads, strings and lush melodies. Comes with an insert "Remix track selector" on coloured vinyl limited to 135 sale copies.

Cybernetic disco maestro Patrick Cowley graces Dark Entries once again with Hard Ware, an LP of far-out funk and synthpop celebrating what would have been Cowley’s 75th birthday. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films, which the label chronicled on compilation albums School Daze, Muscle Up, and Afternooners. Hard Ware presents the closing chapter in a trilogy of unreleased Cowley dancefloor bangers that began with 2022’s heavy-hitting Male Box and was continued with the soul and garage-inflected From Behind in 2024. The most expansive release in said trilogy, Hard Ware delivers ten tracks of pure, uncut Cowley: sultry, psychedelic, sarcastic, and just a bit sleazy. Cowley devotees will delight in “Tech-No,” a sparse instrumental demo version of his epically dystopian “Tech-No-Logical World.” You could soundtrack your next aerobics session with cheeky numbers like “Pajama Party Massacre” or “Shake It Up,” both of which feature Cowley himself on vocals. The frenetic “Big Ass in Motion” is built around samples from Rudy Ray Moore and The Madam’s infamous “Sensuous Black Woman,” an X-rated comedy record that would later feature in classic booty house records. Mid-tempo cosmic groovers are well-represented with jams like “Hellfire” and “Megablue,” which perfectly capture Cowley’s bathhouse-in-outerspace sensibilities. No collection of Cowley’s work would be complete without an interstellar floor-filler, and we’ve got quite a few here, like “Jungle Jump,” which pits whirling beats with dub-laced swirls of synth, or “Spellbinding Lover,” a Donna Summer-indebted melancholic boogie masterpiece that features Sylvester backup singer Jeanie Tracy. Hard Ware closes with the chilling synth-hymn ”Ice Age,” in which Loverde vocalist Peggy Gibbons sings of a coming frosty apocalypse. The story told in “Ice Age” mirrors the coming AIDS crisis and feels like a haunting premonition from Cowley. The record comes in a sleeve with a hand-airbrushed circuitboard-inspired design by Gwenaël Rattke, and includes lyrics as well as liner notes by Andrew Ryce and Peggy Gibbons. Hard Ware is another crucial document of a tremendous talent taken too soon.

A bit of backstory behind this release, I first met Hilton (Jack Horner) at an event in 2012 that took place in a venue called Crucifix Lane (also known as Jack's, now defunct due to expansion of London Bridge station). He's good friends with Krome & Time who were performing that night and I remember chatting with him about jungle (I was still a very eager young lad that was in his first year of raving and very keen to talk about jungle/hardcore/d&b to anyone that would be willing to endure it!) and he mentioned that he used to make jungle in the 90s. I asked who he was and when he told me he was Jack Horner, I went mental because I was a big fan of the 2nd release on Spectrum Records (The Hoover & I Got This Feeling) and to actually meet the person behind those tunes was a really special situation for me to be in.

Unfortunately, I was too shy to get any contact details for him and I never saw him again or knew anyone that had a way of getting in touch with him. That was until very recently, when he had started attending Distant Planet events in London & I got the chance to meet him again, only to be shocked by him telling me that he had been following me & my music and was a fan of me & my label! This time, I made sure that I was able to get contact details for him, I was not going to make the same mistake as last time!

Last December, he messaged me asking if I would be up for doing a remix of The Hoover & I was quite unsure about doing it because of how much I really enjoy the original and feel like it does pretty much everything it needs to do with the sounds used. But, I thought it would be worth a try so I gave it a go and Hilton really liked the outcome (which was a huge relief ????), even though I was a bit too scared to change too much of it haha.

He then asked if I would be interested in releasing it on Future Retro London, which I'd never considered doing because I thought he would have had his own plans for it but I was willing to try & see if we could make a release out of this. I messaged Dwarde & Kid Lib to ask if they'd be up for doing remixes of the same tune (at the time, we only had access to the samples from The Hoover) and they both were and they did great work taking the original track in different directions, each in their own way.

Around the time of making The Hoover, Hilton made another tune with similar samples called After The Pain, which was never released, but he still had the tune. The problem is that he only had it in the form of a cassette recording, which wasn't very good quality and probably would not be easily cleaned up for release. So, I decided to remake the tune from scratch, using the samples I had from The Hoover, as well as sourcing & recreating other sounds used. I was able to remake the whole tune arrangement & then Kid Lib mixed it down to make it sound more sonically similar to how it would have sounded when it was originally made back in 94/95.

Anyway, story time over, big thanks to Hilton for his co-operation & assistance on making this release happen, to Dwarde & Kid Lib for their remix work & a special shout going out to Hughesee for going through Hilton's collection of floppy disks to find & record the samples for The Hoover.

Hailing from Detroit, Ryan has earned great respect over the years as a deej with a deeeeeeep
bag of records. This EP is a perfect reflection of that ethos - with tracks that will have you
covered no matter what time of night you're dropping the needle on this thing.

The A is heavyweight, peak time, disc jock business. Sarah O leads vocals to the A1, woozy,
dubbed out, blissy joy ride that is the club mix of "Between Dreams." It would sound at home on
all your favorite dancefloors, but especially those outside. The Great Outdoors baby: the biggest
room there is!

Next comes the mighty Acid Mix of the title track. Cop now so you won't HAVE to Shazam it the
next time you're hearing Mike Servito or Josh Cheon DJ!!! And the A side is wrapped up by 24
Hour House Music. A jittery proto house work out perfect for a night drive in YOUR city!!!
The B side gives us a more of a downtempo vibe, perfect for life's breeziest occasions. LA
legend Benedek lends his considerable talents to all 3 tracks, while Steven Grady and Noah
Triplett for the EP's final track - "Love Dub." All reminscient of Ryan's work as part of Symptoms
of Love, this side feels more like you're in a dream than between them.