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The Armenian electronic underground has been quietly brewing something visceral. After years navigating the labyrinth of electronic production from his Yerevan studio, Dave N.A. strips away the excess to reveal six raw, uncompromising cuts that pulse with quiet intensity. Not the manufactured urgency of algorithmic dance floors, but the honest tension of someone who’s spent years refining his craft while the scene evolved around him.

Following his debut ‘Altura EP’ on no•id, where collaborations with freq444 showcased his ability to merge Armenia’s electronic scene with Brussels’ underground pulse, Dave N.A. returns with ‘Echoes EP’ after the label’s necessary creative hibernation. This isn’t about comebacks or grand statements. It’s about persistence. About the kind of restless creativity that emerges when you’ve been grinding in relative obscurity, releasing on labels like Uppers and Downers, Typeless, and Elicit Records, slowly building a sound that refuses easy categorization.

The EP opens hard and unexpectedly with “BLINK,” delivering a throat-cutting and all-consuming bassline. “ECHOES” builds around atmospheric sounds and percussive elements, driven by a straightforward yet effective drum sequence. “SHADO” ventures into darker and faster territory with sparse drum programming and heavy sub-bass emphasis. Both “RUSH” and “ORB” unleash torrents of unrelenting breaks, each percussive hit landing with surgical precision as sub-bass currents pull everything forward into hypnotic repetition. “HUNTER” closes the journey, stalking into frame with predatory low-end and razor-sharp hi-hats slicing through dense atmospheric fog.

The no•id ship continues to chart its course through Brussels’ underground, prioritizing artists who value craft over hype. With Dave N.A.’s return, the label reinforces its commitment to electronic music that functions on multiple levels: cerebral yet visceral, local yet universal.

UK producer Tom Carruthers delivers another masterclass for Skylax, diving deeper into the DNA of house music with Deepline, a 5-track journey that connects the raw futurism of the late ’80s to the deep innovations of the early ’90s. Known for his MPC-driven grooves on L.I.E.S., Clone Jack For Daze and Craigie Knowes, Carruthers has become a true guardian of machine funk — always stripped down, always pure. The title track Deepline captures the very essence of house, hypnotic and driving, right at the crossroads of 80s machine funk and early 90s deepness, a timeless groove that feels like the missing link. Dream 12 unfolds as lush and atmospheric, with pads that instantly recall the golden era of early 90s deep house, a reverie made for afterhours and smoke-filled basements. Experience stands as a raw reminder of the four pillars of house — drum machines, bass, minimalism and repetition — metallic, stripped, relentless, pure underground. On the flip, Fantasy explodes with wild energy, channeling the raw spirit of Trax Records and Armando, dirty and direct, a weapon for uncompromising dancefloors. Finally, Folx closes the record with a cosmic edge, its tough jackin’ drums colliding with spacey synth touches to create a bridge between Chicago basements and interstellar dancefloors. Once again, the visual identity is entrusted to the iconic H5 studio (Daft Punk, YSL, Logorama), whose bold modernist artwork perfectly mirrors Carruthers’ stripped yet futuristic vision. Vinyl only. No digital. No compromise.

Rocksteady Disco comes through with more tasteful and timeless edits on this fourth volume of its series which focuses on sounds from Detroit. Gino steps up on the A-side with the leggy grooves and funky bassline soft 'Funk Beyond' then 'Sunshine Ramp' pairs a classic vocal sample with a bubbly, percolating groove full of fun. On the flip, things get more textured and expressive with the busy jazz horns of DJ Righteous's '6 Minutes Of NRG' then 'Never Forget' brings heavyweight drum-first funk with warm organ chords and a busy mix of bass and melodies under the soaring vocals. Scorching stuff.

Kora Koumakan, or Word of the Kora, is a boundary-pushing Afro-Manding group from Conakry, Guinea. Led by master kora player and composer Sekouna Conte, Kora Koumakan channels Guinea's rich musical heritage into modern compositions, creating a sound that is both deeply rooted and forward-looking. Inspired by Guinea's iconic Ballets Africains and legendary artists like Bembeya Jazz National and Mory Kante, the band masterfully blends contemporary instrumentation with traditional West African instruments - handmade by the band themselves - including the kora, djembe, and balafon. Since 2018, they have been touring extensively across West Africa, honing their sound and earning a nomination for Best Band at the 2025 Guinea Music Awards.

This inaugural limited edition vinyl release on Jambulance Movement Records features two standout remixes by London's Tigerbalm and Ben Gomori, which transform the band's original Afro grooves into hypnotic house tracks already making waves on dancefloors worldwide. Tigerbalm's remix expertly layers the original percussion around a driving 4/4 beat, with the ethereal kora and powerful vocals weaving through the rhythm to create compelling dancefloor energy. Ben Gomori's remix takes a more atmospheric route, anchored by a groovy bassline loop with layered guitar and keyboard melodies that add depth and movement, gradually building into immersive moments of tension and release. The record also includes instrumental versions of these remixes, with the band's EP of original tracks set to drop in early 2026.

Jambulance Movement Records is a social enterprise record label and recording studio based in Guinea. Their mission is to empower the next generation of emerging African artists by providing free professional recording services. Operating a solar-powered mobile studio and a static studio in Conakry, the label discovers new talent through casting events across the country. Selected artists receive comprehensive training and mentorship, with the overall aim to foster sustainable careers for young African artists.

Berlin-based artist and label head Tom Peters returns to his techno-focused imprint ...isserving with IS011 - CAN U, a refined four-track vinyl-only release that channels groove,hypnosis, and physical intensity in equal measure.
The EP opens with "CAN U", a deep yet propulsive cut built around metallic percussion,textured synths, and a haunting vocal hook. Its stripped precision and subtle emotionalcharge reflect Peters' evolving sound-somewhere between warehouse minimalism andlate-night transcendence.
Ketch, from the SYXT collective, reimagines the title track with raw drive and rhythmicprecision. His remix sharpens the low-end punch while unfolding layers of atmospherictension that feel both industrial and intimate.
On the flip, "Control Conscious" dives deeper into Tom's hypnotic palette-dark, groove-heavy, and cinematic in its design.
Steffi's remix closes the EP with her signature blend of deep techno and Detroit-infusedswing: warm chords, tight percussion, and a dynamic arrangement that nods to bothemotion and functionality.
Pressed on 140g black vinyl in a limited run of 300 copies, CAN U EP encapsulates thecore spirit of ...is serving-techno with groove, depth, and emotional intelligence.

Eclection’s lack of commercial success remains a mystery to this day. This selection of BBC Top Gear recordings demonstrates their song-writing strength and musical prowess. Only three tracks appeared on the band’s sole studio LP: the remaining nine songs suggest what a second LP might have sounded like. Highly recommended to fans of Fairport Convention, with whom Eclection share some musical DNA.
Comes with full recording credits and extensive sleeve notes.
Recording Quality Very Good/Excellent throughout.

Over twelve tracks selected from BBC radio and European TV broadcasts, this LP charts the development of Blossom Toes from 1967 psyche to something darker and more powerful. This mix of idiosyncratic originals and re-interpreted cover versions includes songs not included on either of their studio albums. Sound quality is Excellent except*. Comes with extensive sleevenotes that include full recording details.

Mit "Tourist History" veröffentlicht die britisch-irische Indieband Two Door Cinema Club eines der einflussreichsten Debütalben der 2010er Jahre in einer besonderen 15th Anniversary Edition. Das Album, das 2010 erschien, gewann den Choice Music Prize als Irish Album of the Year und markierte den Start einer Weltkarriere, die von Festival-Headliner-Shows bis zu über 1 Milliarde Streams von "What You Know" führte.

Zur Feier des Jubiläums erscheint Tourist History in drei liebevoll gestalteten Formaten - inklusive bisher unveröffentlichter Remixe und Raritäten.

Seit dem Garageprojekt in Bangor haben Alex Trimble, Sam Halliday und Kevin Baird eine beeindruckende Karriere hingelegt - mit Top-10-Alben wie Beacon, Gameshow, False Alarm und Keep On Smiling und ausverkauften Touren weltweit. Diese Jubiläumsausgabe ist ein Muss für Indie-Fans und Sammler - ein Meilenstein moderner Gitarrenmusik.

At the end of the project’s 20th anniversary celebrations, ROME tolls in the next era of the band with a fresh and visionary album: ‘The Tower’.  ROME’s new and ever more mature sound is informed by a radically minimalist folk approach, with nonetheless charmingly lush arrangements. ‘The Tower’ is an introspective and enigmatic work at whose centre stands nothing less than ROME’s raison d’etre: The Great Work and the sacrifices both necessary and essential on the demanding path to light. As an unreachable bulwark against the general decline of every value in life, the tower would have been erected long ago to defend the coast.

It would have been raised on a rocky platform resting on the sea floor. It would have been joined to the continent by a thin tongue of sand. It would have offered a heroic, magical point of view. A place for our claim to know and point out vaster horizons. It would have stood firm on the ramparts. This isolated tower would not have been just a refuge for more or less mystic escape, but also a post of resistance and combat.

UpTight is a soundtrack album by Southern soul band Booker T. & the M.G.'s for the film of the same title. The album features "Time Is Tight", the single version of which became a US Top 10 hit and a signature song for the band.

Recorded in 1970 with a host of young blues and rock musicians, Blue Memphis is recognized as one of the best dates released by fellow blues artists in that era. On this album, the famous American blues pianist, singer, and composer Memphis Slim (John Peter Chatman) is backed by several British musicians, including Chris Spedding, John Paul Jones, Duster Bennett, and Peter Green.

Desertshore is Nico's third solo album, recorded and released in 1970. It was co-produced by John Cale and Joe Boyd. Like its predecessor The Marble Index, it is an avant-garde album with chamber music elements. The back and front covers feature stills from the film La cicatrice interieure by Philippe Garrel, which starred Nico, Garrel and her son Ari Boulogne. A few of the songs from the album were included on the soundtrack of the film.

Released in 1972 as the follow-up to the previous year's classic CTI album with Stanley Turrentine, Now is Astrud Gilberto's tenth studio album and her only recording on Perception, and wow does she make the most of the musicians available to her on this recording. Produced by Astrud herself and with all songs arranged by fellow Brazilian Eumar Deodato, the all-star line-up on Now includes Deodato on acoustic guitar, more Brazilian flavours from Airto Moreira on percussion, label vice-President and production genius Patrick Adams on Bass duties (along with Bob Cranshaw and Ron Carter), Dizzy Gillespie Quintet and Jazzberry Patch band member Mike Longo on keyboards and the mighty Billy Cobham on drums.

This album is a fiercely political and genre-defying album that blends funk, jazz, soul, and rock with sharp social commentary. McDaniels channels the turbulence of early-’70s America into surreal, poetic lyrics that critique racism, war, capitalism, and hypocrisy. The record’s raw grooves, off-kilter rhythms, and biting wit make it both musically adventurous and lyrically fearless — a cult classic that prefigured conscious soul and hip-hop’s political edge.

4 Way Street is the second and live album by David Crosby, Stephen Stills, Graham Nash, and Neil Young. It was released in 1971 with the live recordings taken from the band's shows during their 1970 tour around the USA. The album reached No. 1 on the Billboard 200 and was awarded a gold record. This is the first 2LP reissue since 1986 and it contains two bonus tracks on sides C and D: the at-the-time unreleased "Black Queen" from Stephen Stills and a medley made up of “The Loner - Cinnamon Girl - Down By The River” performed by Neil Young.

Originally released in 1983 on I.D. Records, Wreckin’ Crew catches The Meteors in peak, feral form, a scorching burst of early psychobilly loaded with slapping bass, jagged guitars, and P. Paul Fenech’s unmistakable snarl. A true cult favorite, the album helped spark the infamous “wrecking” style and cemented the band’s reputation as the genre’s loudest and most unapologetic force. A high-voltage classic, back on vinyl where it belongs. Still wild, still unhinged, still essential. Turn it up and let the chaos loose.

Originally released in 1983 on I.D. Records, Wreckin’ Crew catches The Meteors in peak, feral form, a scorching burst of early psychobilly loaded with slapping bass, jagged guitars, and P. Paul Fenech’s unmistakable snarl. A true cult favorite, the album helped spark the infamous “wrecking” style and cemented the band’s reputation as the genre’s loudest and most unapologetic force. A high-voltage classic, back on vinyl where it belongs. Still wild, still unhinged, still essential. Turn it up and let the chaos loose.

By the time Jackie Mittoo released this outstanding album (his 4th), he had already gained a big reputation in the early days of Reggae, Ska and Rocksteady for his contributions to the Studio One catalog and his work with the Skatalites. With his beloved Hammond organ, endless talent and a bag on influences that included Jamaican sounds, Soul and Funk, Mittoo created a cool, moving, warm and groovy sound that would explode in his amazing dance songs and has gained cult status among followers of Jamaican Music, Soul and Funk lovers. A great collection of reggae-soul instrumentals by one of the most talented figures of the genre.

A previously unissued post-bop document from 1970, Jyväskylä Workshop Band 1970 assembles American saxophonist Charlie Mariano, Norwegian bassist Arild Andersen and Finnish luminaries Heikki Sarmanto, Eero Koivistoinen, Paroni Paakkunainen, Seppo Ranniko, Pekka Pöyry, Edward Vesala and Matti Koskiala. Professionally captured in concert, the album delivers a vibrant set of groovy, exploratory and subtly exotic tunes that helped assert Finland’s place on the international jazz map.

Next up in our Cuban Classics series, one of the jewels of record label Areito’s extensive and sought-after catalogue. Ricardo Eddy Martinez’s Expreso Ritmico from 1978 is a prized album fusing funk, disco, and orchestrated influences with Afro-Cuban percussion, Latin breaks, and lush vocal harmonies.

Whilst maintaining its distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, José Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US.

Produced by Adolfo Pichardo, who worked on much of Areito’s output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. ‘Que La Tristeza Se Fue’ was expertly sampled and looped by Jazzanova on their 2008 song ‘Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, ‘Tambo Iya’ has an Afro-funk, Soul Makossa-esque groove, while tracks such as ‘Te Quedas’, ‘Mi Conga Es La Que Es’ and ‘La 132’ run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of ‘Este Tumbao’ for a spacey journey that blends and morphs through genres.

'A Senegalese Griot singer, an Amsterdam improviser and a Puerto Rican jazz drummer find each other on an open playground, a stage built for improvisation, an old cinema now used for minute made story telling.
'Equipped with an m'bira, a xalam, a drum kit, a voice, percussion, house hold tools and an electric clavichord on 220 volt, they sit down and take off: Wrrrrrraaang!
'Singer and percussionist Mola Sylla is in many ways a musical explorer. Born and raised in Dakar, Senegal, he grew up in the tradition of the griots. Griots play conveying stories – sometimes decorated with music, theater and dance – which all play an important role in West African culture. His rhythm and melodic compositions differ from the western agreed schedules and provide surprising twists.
'Puerto Rican drummer Frank Rosaly has been involved in the improvised and experimental music scenes since 2001 when he became an integral part of Chicago's musical fabric, navigating a fine line between the vibrant improvised music, experimental, rock and jazz communities.
'Oscar Jan Hoogland is the sound of Amsterdam in person. He is an instant composer and inventor of his own instrument by joining a clavichord, a keyboard instrument from the 17th century, to 220 Volt electricity. As the last student of the late pianist, composer and improvisor Misha Mengelberg he tears like a tornado through the Amsterdam jazz and impro scene.
'Together they are Mother Tongue.'

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The good time groove lovers at Pleased As Punch are back with another outing on vinyl that once again brings some irresistible energy across a cool house and disco spectrum. The Shapeshifters excel with one of their soulful, uplifting specials on 'Do What You Wanna Do' before Friendly Ghosts keep the flames burning but in a more low-key, intimate style on 'Fan The Flame.' Shaka Loves You shuts down with a churchy and gospel tinged vocal that's backed by florid Hammond organs and a traintrack groove finished with hefty bass on 'Hear Me Today'.

Reliance is one of the many labels in Burnski's orbit. Its sixth outing comes from Philip George who seems to be a newly emerging producer. His sound doesn't suggest that, though, as it's an accomplished, fulsome blend of bassline, garage and house that is full of character. 'Bad Thing' brings hefty low-end power with bounce to spare and the slightest of vocal touches to set things aflame. 'Labyrinth' is a little more roomy with space for the pads to breathe and the drums to get you locked in. 'Irresistible' has a cool retro undercurrent with bright neon colours and endless vibes in the garage-house grooves. Another useful weapon.

Infinity is over. That’s the motto of this next chapter which is getting unveiled in our musical village of Sakskøbing which will mark its 10th year anniversary this year. The captain of this spaceship is Jeroen Böhm with tons of experience behind him so you know it will be a smooth ride with minimal space turbulence. The release features vast variety of sounds all tied by the same concept and oozes through with a lot of character and artist’s signature sound, from the tight basslines and drums to the well-executed textures that make up this 12” disc. It is a true honor to welcome this talented artistic soul to the family of Sakskøbing, after this synergy has happened the only question remains why didn’t it happen sooner? To tell these who thought infinity is infinite, no, you were wrong all the time. Infinity is over.

In the early 1980's GALLIFRE aka BRETT WILCOTS & FRANKIE KNUCKLES were burning up dance floors with their special remixes. Here we have a highly sought-after original & official reissue that hasn't seen the light of day since 1987 with unreleased instrumentals. Full printed sleeve. 100% legit!

2026 Repress

Physical Education is proud to have Len Lewis back. This time with the reissue of his early 2000s Joy / Skip Up release. A hard to find record released back in the day in a small run press coming out again right in time for summer.

A side's Joy is a beautiful cut of deep tech house with lovely strings and swinging toms signature of the Swag Records affiliate. While the B side includes 2 versions of Skip Up, both are a perfect hybrid between modern deep house and breaks characteristic from that era.

Born 2 Be Free celebrates the naughtier end of the house and garage spectrum with a first volume in this new Low End Guerrillas series. Mista Men's 'Corner' has muggy blasts of bass that cocoon you in warmth as lively garage drums and nimble synth motifs keep things fresh. Mella Dee brings his usual sonic filth to the rugged analogue grind of 'A Way Of Life'. No Brainers then layer up a bubbly mix of top and hits over driving bass notes on 'Not Again', then Lvpica's 'Funky:Mission' keeps it deep and moody with a shadowy bassline and slick drums for cool cats. Live From The Moon shuts down with the more eerie and suspenseful 'Parrot In The Studio.' Characterful tools from font to back.

One of the all-time Balearic greats gets an official re-rub by friend of Balearic London, Holmes Price. Taking the charms of the classic Cool And Breezy Jazz Version- produced by Pete Waterman's in-house team at his '80s powerhouse PWL Records, and also included here in all its glory - rearranging the phrasing and adding a meatier contemporary house groove, it's the perfect update for the modern dancefloor that we hope will also introduce the timeless 'original' mix to some new ears.

LA underground hubs DISCOS XXX aka DX3 and Elbow Grease join forces to proudly present Point Winona Sound Library Vol 1 — featuring 20 distinct artists from the inspired local dance music scene, working under one unified studio roof in various collaborative
formation at the mighty Los Feliz hilltop palace Point Winona, overseeing the city they collectively represent. These timeless warehouse-wrecking tracks all stand on their own, but the compilation as a whole offers a solid geographic sonic statement with shared rhythmic DNA and bold rooted-futurist production blueprints, guided by the champion efforts of studio executive producers/curators Tavish DJ and Dave Aju.
The BPS stage-setting opener evokes crispy A.M. hours with lush Detroit-meets-Cali feels on “Within Reason” — then studio dream team 5 ATMs bring the dubwise floor vibes up a notch on “A Dub Called Mondo” and Chitown-to-LA legend Scott K lays down an FM bass-laced acid house heater with “Tighter & Tighter”. Nashville-born producer Gryph funks things up on the live space boogie bump of “Winona at Sunset” while SSRI, comprised of Underground Resistance’s DJ Dex/Nomadico, Aju, and Black Lodge’s fearless leader Kosmik, drop fierce robo-Italo bliss on “Omnicallora”. Things take a further psychedelic twist with the PW edit of Scotty Coats’ sublime midtempo tripper “Be Work Zone Alert”, then Omakase’s own Gold Code alongside longtime rave brother Aju drop the nasty J Saul-salute “Yolo Jungle”, and Warehouse Preservation Society aka Tavish DJ & TK fully detonate floors inna raucous Wicked Crew stylee with “Data Bliss”. Undisputed LA scene queen Stacy Christine arrives with her shining debut “Smart Move”, where she and Aju trade sly vox lines of party advice over a bouncing tech banger for the ages, before the “Obsesion Romantica (Free Winona Dub)” sees Sisters Of Sound aka Maddy Maia and Tottie's, OG track getting stripped back and fired up to acidic peak time form. Then Dave Aju and SF homies Moniker aka EO & Kenneth Scott unleash wild uptempo melodic bruk heaven on “Chuy Luis”, and Vastir sends us home with the stratospheric drum n bass closer "Turnpike"

In the late 1980s, Klaus Wiese (Popol Vuh) deepened his connection with Tibetan culture. The result is a series of works solely dedicated to the universal purity of the Singing Bowls. Uranus, perhaps the most rigorous of these, is an intense meditation on the trans-personal sphere of the VI chackra. The music becomes like a single harmonic chant, the reflection of a constant flow of divine light, which transforms the psyche and dilates the secret passages of the heart. In the galaxy of pure sound, the accumulated overtones offer the intrepid listener the access to a prismatic, fluoriscence-rich consciousness. The ego thus becomes the sonorous composer of itself, of the vital circle flooded with beneficial acoustic vibrations. In this sense, Uranus, originally published on tape (Aquamarin Verlag/1988), also marks a parallel with the same research by Henry Wolff & Nancy Hennings or Nada Himalaya's Deuter.

COLLECTING ORDERS FOR 2026 REPRESS

In this fifth release of 616 LAB the Sicilian artist 616 delights us and gives us the chance to have in our bag a record with four super tracks for the club to play in any moment of the set! All recorded in live on the two-track tape recorder (revox a77) without the help of computers AND microchips. Love transistor

COLLECTING ORDERS FOR 2026 REPRESS

Night falls, the lights dim, and the Extrasensorial Catalog presents its third chapter—an eclectic VA built for late hour mind-bending moments on the dancefloor.

On the A side, we open with Dani Labb and his explosive contribution "Rin Raje", a raw, hypnotic roller designed to twist minds and bodies alike. Saturated grooves, razor-sharp percussion and just the right amount of darkness make this an undeniable peak-time must.

A2 features the Italian craftsman Niki IL B with "Monte Moggio", a mystical excursion into deep, textured terrain. This track feels like wandering through fog-covered hills at dawn—delicate, groovy, and haunting in the best possible way.

Flip to the B side, and Ludovic wastes no time with "Vitesse, Argent, Sexe (5am Mix)", a late-night anthem soaked in tension and sweat. Pulsating basslines and seductive rhythms carry you into a euphoric state where the rules no longer apply.

Closing things off is Kebab Traume with "Mindlock", a cerebral journey that merges dreamy pads, off-kilter drumwork and warped melodies—like stepping into a lucid dream you never want to wake up from. An ideal closer for those deep after-hours rituals.

We All Jack – Part 2
Following the success of its inaugural vinyl release, We All Jack – Part 2 continues Heattraxx’s dedication to preserving and pushing forward the legacy of Chicago house music. This second chapter deepens the journey, bringing together foundational pioneers and trusted label family to expand the spirit of the series.

Leading the charge is an undeniable icon, Roy Davis Jr., an absolute legend whose influence on house music culture is timeless. His contribution brings soul, depth, and unmistakable Chicago authority to the record.

Joining him is DJ Merci, a Heattraxx resident and true family member, delivering a groove-driven remix that reflects both his long-standing connection to the label and his deep understanding of the dancefloor.

The release is further elevated by Jerome OR, whose refined, contemporary approach adds fresh momentum while staying rooted in classic house sensibilities, and Gettoblaster, bringing raw Chicago energy with their signature jackin’ sound and unmistakable attitude.

We All Jack – Part 2 is not just a follow-up—it’s a continuation of a vision. A vinyl series dedicated to house heritage, bridging generations, and carrying the Windy City spirit forward with respect, weight, and purpose.

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