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“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.

“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.

“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American epic that can keep good company with Herman Melville. When the hero finally makes it to California, his first instinct is to call home and reassure the Old World that he’s safely arrived in the new one.

“The songs on Fly the Ocean in a Silver Plane were recorded at home over the last couple years. I played electric guitar, rubber bridge acoustic guitar, Ableton Live and an Electron Digitone synth. My friend Mallory Linnehan aka Chelsea Bridge contributed beautiful violin and vocals to a couple of the songs. We recorded those performances on a summer afternoon in Chicago at the Not Not space with the windows open.

“The cover is a photo of my mom—one I never saw when she was alive. With the headscarf and that excited, nervous expression, she looks about to embark on a journey. Ready, finally, to cross the tarmac and board the Silver Plane. “Wishing safe travels to all.” — Mark N / Pan•American



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Sally C steps up to inject CC:DISCO!’s sensual anthem ‘Chez Moi (feat. Confidence Man)’ with an inimitable streak of pumping house flavour. Originally released on Phantasy as CC’s debut single in the summer of 2024, the scene-setting Irish DJ and producer’s remix ticks like a Balearic bomb, riding waves of rushing chords and shuffling drums, built for the biggest sound systems.

After years of demand, Spray takes two wildly alternate approaches to ‘Chez Moi’, pressed to wax for the first time. His euphoric ‘Club Spriitzz’ mix fizzes toward the undistilled euphoria already beloved to festival crowds worldwide. In contrast, a swampier ‘Witching Hour’ cut recalls the experimental acid of early Hardfloor or Plastikman, for a heavyweight treat.

Relive three decades of Belgian clubbing history.

We're celebrating the 35th anniversary of Cherry Moon withan essential collection of the anthems that defined a generation. Hard to find tracks, classics and sounds from the underground combined in a splendid 10x12" Vinyl Box Set.

From the first beats of 1991 to the peak of the "House of House", this is the ultimate tribute to a legendary venue.

Introducing The Hard Line is available on translucent green vinyl
Neither Fish, Nor Flesh is available on red coloured vinyl
Symphony Or Damn is available on gold coloured vinyl
Vibrator is available on blue coloured vinyl
JUST 400 AVAILABLE IN UK!!

180 gram audiophile vinyl, Newly remastered audio, processed at Artone Studio, approved by Sananda Maitreya
Anti-static black poly lined inner sleeves, Deluxe heavyweight sleeves on uncoated paper
All 4 albums include separate inserts with brand new introduction liner notes written by Sananda Maitreya
Box set is a limited edition, Hype sticker
Sananda Maitreya proudly announces “JUVENILIA : The Columbia Years”, a meticulously curated 4-LP box set bringing together
his first four groundbreaking albums, originally released between 1987 and 1995 Introducing the Hardline, Neither Fish Nor Flesh, Symphony or Damn, and Vibrator.
Set for release on February 6th, 2026, JUVENILIA mark the first time these iconic works have been remastered and presented together on
premium 180-gram vinyl, complete with restored artwork and new liner notes by Sananda.

Produced in collaboration with Sony Music UK, Music On Vinyl and Treehouse Publishing, “Sananda Maitreya’s JUVENILIA : The Columbia Years”,

pays tribute to a pivotal creative era that helped redefine the sound and spirit of modern soul, pop, and rock in the late 1980s and 1990s.

Introducing The Hard Line is available on translucent green vinyl
Neither Fish, Nor Flesh is available on red coloured vinyl
Symphony Or Damn is available on gold coloured vinyl
Vibrator is available on blue coloured vinyl
JUST 400 AVAILABLE IN UK!!

180 gram audiophile vinyl, Newly remastered audio, processed at Artone Studio, approved by Sananda Maitreya
Anti-static black poly lined inner sleeves, Deluxe heavyweight sleeves on uncoated paper
All 4 albums include separate inserts with brand new introduction liner notes written by Sananda Maitreya
Box set is a limited edition, Hype sticker
Sananda Maitreya proudly announces “JUVENILIA : The Columbia Years”, a meticulously curated 4-LP box set bringing together
his first four groundbreaking albums, originally released between 1987 and 1995 Introducing the Hardline, Neither Fish Nor Flesh, Symphony or Damn, and Vibrator.
Set for release on February 6th, 2026, JUVENILIA mark the first time these iconic works have been remastered and presented together on
premium 180-gram vinyl, complete with restored artwork and new liner notes by Sananda.

Produced in collaboration with Sony Music UK, Music On Vinyl and Treehouse Publishing, “Sananda Maitreya’s JUVENILIA : The Columbia Years”,

pays tribute to a pivotal creative era that helped redefine the sound and spirit of modern soul, pop, and rock in the late 1980s and 1990s.

2026 Repress

Producer and bassist Huw Marc Bennett presents ‘Tresilian Bay’, a new project that draws from artists such as Tim Maia, Augustus Pablo and Idris Muhammed as much as the jazz scene and community he has found in south-east London. The languid, sultry sound fuses both modern and vintage, travelling from South London electronica, to Brazillian groove, Nigerian Afrobeat and Ghanaian Highlife along with a streak of Welsh psychedelia.

‘Tresilian Bay’ is a nod to hedonistic summer nights, whether spent on the Glamorgan coast or the hot Lewisham streets. The album is titled in honour of the bay near where Huw grew up, an area steeped in stories of ancient Welsh royalty, smugglers and pirates.

The album started out as a lost live session recorded at the Total Refreshment Centre studios, featuring Chelsea Carmichael (sax), Rosie Turton (trombone), Shirley Tetteh (guitar) and Jake Long (drums) with Huw at the helm on bass and compositions. With glorious vocal contributions from Miryam Solomon; Huw utilised his human style of production and multi instrumentality heard in his Susso project (Soundway Records, 2016) to mold these recordings into this mature and emotional debut.

The album was mixed and mastered by Albert's Favourites co-founder Adam Scrimshire with artwork by Jonny Drop.

From the subterranean grooves of deep techno to the cosmic pulse of electro and IDM, Deep Space Protocol sees Japanese legend DJ Compufunk navigate a vast sonic universe with precision and feeling. A veteran of Osaka’s celebrated Compufunk Records scene — where he’s sold and spun cuts for nearly three decades — Compufunk seamlessly weaves together influences that span Detroit-infused machine rhythms, hypnotic electro textures, and the thoughtful intricacies of left-field IDM.
Pressed as a limited vinyl release, Deep Space Protocol feels like both a nod to classic techno lineage and a forward-thinking exploration of sound — perfect for listeners who cherish the raw pulse of the dancefloor as much as the cerebral depths of an immersive listening session. With roots that include releases on Detroit’s Motech and connections to Underground Resistance figures, this is an album that bridges cultures and decades while leaving plenty of room for the future.

Sakura is without doubt the most loved and lauded entry in Susumu Yokota’s catalogue.

The music unravels like cascades of petals falling from the eponymous cherry blossom trees. Yokota intended to ‘express ki-do-ai-raku (the four emotions; joy, anger, sorrow, and happiness) through music’, and throughout Sakura, the effect fluctuates between profound tranquillity, hesitation, melancholy and joy with ease, addressing the fickle nature of human emotion, while transcending the inclination to label moods entirely.

Sakura became Yokota’s best selling album. It was greeted with universal acclaim, lauded by Philip Glass and Brian Eno and launched Yokota internationally.

‘A bittersweet beauty, heightened by the sadness that all things must one day end.’ - Martyn Pepperell

Shaped by the pair’s long-running chemistry, November Snowflakes moves with a sense of wonder, unfolding with gentle percussion, absorbent melodies, and airy textures that are simultaneously familiar and refreshing. Each track carries its own reflective mood, yet the EP flows with the warmth and cohesion that embody Lee and Lost Desert’s creative partnership.

Welcome ALL to another amazing modern soul release by Louise Marshall & Geoff Gascoyne – after the hits soul release from last year “Happy on my own” & Stop look and Listen” both these tracks had lots of radio spread around the world.

Two superb vibes A side - “And I was like….” a mid-tempo eyeworm soul vibe with a funky cheeky message with its. On the double AA side is the uplifting “Where’s the Party?” this has a strong dance groove and feel, superb top like vocals which you just can’t help to sing along

PAPER ROUTE iLLUMINATi is the compilation album from Paper Route EMPIRE, the label founded by late Memphis legend, Young Dolph, and home to the equally iconic Key Glock and an impressive roster of additional artists including Snupe Bandz & Big Moochie Grape. Including the hit songs, "Talking To My Scale," "I Do This," & "Mister Glock 2," as well as deep cuts like "Broccoli & Cheese," this album is a must have for Southern rap fans and encapsulates a time when PRE was at the height of their game, shortly before Young Dolph's untimely passing. 2xLP pressed on Red Snake Eyes Galaxy vinyl, and housed in a gatefold jacket. Long Live Young Dolph.

We are thrilled to announce that as we welcome the year 2026, we have the talented duo Horsemen joining us to kick off the year with four incredible house tracks. Their unique sound and creativity promise to make a significant impact, and we can't wait for you to experience their music.

After a relatively quiet year - by his standards at least - Glyne Braithwaite aka Risk Assessment is back with three more simultaneously released EPs. This one, number eight in the long-serving producer's ongoing series, boasts four more happy-go-lucky, party-friendly workouts. Check first 'Love Music Part 1', where disco samples from a cover of an O'Jays classic (including the familiar piano refrain) rise above a typically thickset house groove, before admiring the more urgent, excitable and musically detailed disco-house rush of 'Son of a Gun'. The fun continues on the flipside, where 'Want You Back (Kitchen Disco mix)' - all shuffling beats, lovely Clavinet licks and female vocalisations - is joined by the similarly celebratory 70s soul-goes-disco-house goodness of 'Welcome (Remix)'.

7 Inch Orange Dinked Vinyl in Label Branded Sleeve

Originally issued on Paul Winley Records in 1973, “Smokin' Cheeba-Cheeba”—with Ann Winley on vocals—became a cornerstone of the 1980s UK Rare Groove scene, earning cult-classic status among collectors and DJs alike. On the flip, “Dance Girl”—also released under the Rimshots name—serves up one of the era’s most revered up-tempo breaks. Its unmistakable groove has been sampled by The Roots, Large Professor, and many others, cementing its place in hip-hop production history. The creative nucleus behind both The Mighty Tom Cats and The Rimshots would later evolve into the legendary Fatback Band, adding another layer of pedigree to this essential pairing. With original copies fetching high prices on Discogs, this special-edition Orange vinyl Dinked 7-inch, housed in a branded Paul Winley Records sleeve for Record Store Day, offers a rare chance to own two deep-cut funk/soul essentials on one collectible release.

Die Montrealer Ikone Tiga kehrt mit seinem vierten Album HOTLIFE zurück und läutet damit eine neue Ära in seiner unsterblichen Techno-Reise hin zu absoluter geistiger Freiheit ein. Mit Beiträgen von Boys Noize, Matthew Dear, Fcukers, MRD, Gesloten Cirkel, Paranoid London, Maara und den neuen Studio-Experten seiner Heimatstadt Priori und Patrick Holland befindet sich Tiga mit HOTLIFE auf dem Gipfel des Musikbergs und versetzt die Zuhörer mit ansteckenden Dancefloor-Klängen in Begeisterung: ,Wenn ich die Catharsis Machine einschalte", sagt der berühmte Sänger und Produzent, ,spielt es keine Rolle, ob Sie reich oder arm sind, denn Sie werden ein freier Mensch sein ..." Die Rückeroberung seines Platzes an der Spitze des himmlischen Firmaments der zeitgenössischen Tanzmusik verlief nicht ohne eine fesselnde und nachvollziehbare Erzählung. Nach einem mühsamen Kampf mit einer neurologischen Erkrankung, die er entdeckte und ,Vibe Fog" nannte, befand sich Tiga an einem Scheideweg: ,An einem bestimmten Punkt hieß es entweder, das Exoskelett zu kaufen und meine Virgin Megastore-Aktien zu verkaufen, oder Tiga City von Grund auf neu aufzubauen, Stein für Stein, Wasserspeier für Wasserspeier." Das Ergebnis ist ein Tiga, den langjährige Tiga-Beobachter als ,engelsgleich" und ,furchteinflößend" bezeichnen, was zu einem Album geführt hat, das die destillierte Essenz eines Trendsetters einfängt, der über alle menschlichen Grenzen hinausgeht. ,Meine Ja/Nein-Reaktionszeit bei künstlerischen Entscheidungen ist außergewöhnlich", fügt Tiga hinzu. ,Wir haben jede Sekunde, die wir bei jeder kreativen Entscheidung eingespart haben, in die Laufzeit des Albums reinvestiert. 12 Songs. 60 Minuten. Bemerkenswert."

The 3rd Suture !! This time with SUF boss: Chris Liberator, Alex Punto (Labelowner), Acid Mutant & Tio Fil !! Go check this one out !!!

Suture Records is a member of the Flatlife Records Labelgroup.

A1 Dawn Razor x Electrosoul System - Hiper Dob. Progressive breaks in the best traditions of Layo & Bushwacka! Atmospheric, fiery, harmonious.

A2 Electrosoul System - #electrobidon. Powerful electro breaks with paranoid melodic harmonies and an original, memorable voice sample by the 46th President of the USA.

B1 DJ Brix - Under Attack (Electrosoul System Remix). Crisp breakbeat with an old-school touch, echoing early Chemical Brothers and Prodigy, acid house and the acid revolution.

B2 Dissident - Alter Samadhi (Eklektika Remix). Gloomy, mesmerizingly hypnotic future garage remix of a drum'n'bass classic by Dissident.

Emalkay is famous for his club smashing hits 'When I Look At You' 'Fabrication' 'Explicit' and 'Crusader' to name just a few! A side 'The World' feat ft. Lena Cullen is taken from the album 'Eclipse' and yes its yet another club anthem. On the flip 'Transpose shows how he can switch up the filth like no-one. Check the official video.

"Morning Star" zeigt Kekht Aräkh auf dem Weg zu einer authentischeren, verfeinerten Version seiner selbst. Das Album wurde in Berlin und Stockholm aufgenommen und entstand in einer Phase intensiven persönlichen und künstlerischen Wachstums. Es verbindet aggressive Black-Metal-Passagen mit immersiven, strukturierten Klanglandschaften, die sowohl intim als auch weitläufig wirken. Seit seinen Anfängen in Mykolajiw, Ukraine, hat Dmitry (alias Crying Orc), der alleinige Kopf hinter dem Projekt, einen unverwechselbaren Weg innerhalb des Black Metal gesucht. Diese Vision entfaltete sich durch sein Debütalbum "Through the Branches to Eternity EP" (2018) und die Alben "Night & Love" (2018) und "Pale Swordsman" (2021), die eine charakteristische Spannung zwischen wildem, viszeralem Black Metal und zarten, introspektiven Balladen etablierten. Auf "Morning Star" erreicht diese Dynamik eine neue Tiefe. Das Album entstand in einer Phase künstlerischer Klarheit und erkundet eine rauere, persönlichere Gefühlspalette, geprägt von Stress, Angst und langen Phasen der Schreibblockade, was ihm eine seltene Unmittelbarkeit und Verletzlichkeit verleiht. Dmitry nahm fast alle Instrumente selbst auf, das Schlagzeug stammt von Jonathan (Spira Me, Vanskapth, Olycka). Bladee steuerte den Gesang bei und war Co-Autor der Texte zu "Eternal Martyr", eine unerwartete Zusammenarbeit, die eine intuitive Chemie offenbart. VS--55 und Varg2Ö fügen abstrakte Samples und subtile Texturdesigns hinzu, die "Morning Star" seine unverwechselbare Körnigkeit und analoge Wärme verleihen, während James Ginzburg (Emptyset, Osmium) sich um das finale Mastering kümmerte und die dynamische Tiefe und atmosphärische Fülle verstärkte. Mehrere Tracks greifen früheres Material mit neuen Perspektiven wieder auf. ,Wänderer" und ,Drömsang" wurden teilweise neu aufgenommen oder komplett neu interpretiert. Intensive, treibende Passagen kollidieren mit spärlichen, kontemplativen Zwischenspielen und erzeugen eine Landschaft, die sowohl viszeral als auch eindringlich ist. Themen wie Isolation und Wanderschaft tauchen in "Wänderer" auf, traumhafte Melancholie in ,Drömsang", existenzielle Kämpfe in "Angest" und Reflexionen über Zeit und Transformation in "Three winters away". Mit "Morning Star" verbindet Kekht Aräkh vergangene Erkundungen mit neuer kollaborativer Energie und produziert ein Album, das die Black-Metal-Tradition der 90er Jahre würdigt und gleichzeitig Lo-Fi-Wärme, melancholische Melodien, klangliche Experimente und emotionale Offenheit umfasst. Das Ergebnis ist ein zutiefst persönliches Statement - ein Album, das sowohl eine Ankunft als auch eine Fortsetzung seiner künstlerischen Reise darstellt.

companion album to their 2024 debut on PPU.
mess/age is the music of Kyoto-based friends Khan Brown and Ohhki.

artwork by Munguni.

In the spring of 1977, Millie Jackson was in Muscle Shoals, Alabama, laying down tracks for what became “Feelin’ Bitchy” with co-producer Brad Shapiro. Released in August 1977, the album reached #4 and #34 in America’s Billboard’s R&B and Hot 100, going gold with over 500,000 copies sold. Jackson’s cover of ‘If You’re Not Back In Love By Monday’ – already a hit for Merle Haggard in March 1977 – also reached #5 R&B and #43 in the Hot 100 in August. Although the album did not chart in the UK, “Feelin’ Bitchy” sold strongly to a dedicated fanbase who had voted her the #1 female singer in the Blues & Soul magazine annual poll. Jackson also performed much of the material on her sold-out UK dates in early 1978.

“Feelin’ Bitchy” was not only a commercial success, cementing Jackson’s no-nonsense reputation, but is now considered an all-time classic. Her rap on Benny Latimore’s ‘All The Way Lover’ stretched the original out like chewing gum to 10 minutes. “’Back In Love By Monday’ is a great song an’ that,” she told Black Echoes, “but it didn’t sell the album. ‘All The Way Lover’ sold the album.” Indeed it did, but other tracks like ‘A Little Taste Of Outside Love’ ‘Lovin’ Your Good Thing Away’, ‘Cheatin’ Is’ and ‘Feelin’ Like A Woman’ show that while Jackson’s tongue – front and centre on the LP cover – was always ready to hand out a lashing, it also helped her sing beautifully.

Ace are delighted to reissue “Feelin’ Bitchy’ on vinyl and Millie Jackson spoke to Ian Shirley about the recording of the album. This interview runs on an inner sleeve along with classic photographs of Jackson from this period.

For the first time on LP vinyl, Come Ahead: The Remixes Vol.2 (Dubs) brings Primal Scream’s club-ready reinventions into full analog glory. Originally released in FLAC format in 2025, this second volume dives deep into dub territory, reimagining tracks from Come Ahead with hypnotic grooves and spacious textures. Featuring reinterpretations by Lovefi ngers, Black Science Orchestra, Radio Slave, and Pet Shop Boys (in dub mode), each track pulses with low-end warmth and rhythmic experimentation. From the acid-drenched swirl of “The Centre Cannot Hold” to the narcotic haze of “Innocent Money,” this is Primal Scream at their most psychedelic and dancefl oor-minded. Specially mastered for vinyl, the sound is immersive and tactile — perfect for DJs, collectors, and audiophiles alike.

Eight tracks, nearly an hour of music, and a sleeve that nods to rave-era design make this a must-have for fans of dubwise house and experimental club culture. Limited pressing. Maximum impact. Come Ahead: The Remixes Vol.2 (Dubs) is available as 2LP Black Vinyl.

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…

To mark the 25th anniversary of its release, Doubts and Convictions by Troublemakers is officially reissued, more than twenty years after its original release in 2001.


Never reissued until now, this emblematic French Touch album—originally signed in Chicago, USA—captures a moment when French electronic music opened up to jazz, soul and transatlantic grooves.


A cult record whose sound remains timeless.

To celebrate over ten years of groove and sonic elegance, Roche Musique presents its “BEST OF” compilation, available exclusively on vinyl. A handpicked selection of 20 essential tracks tracing the label’s DNA — a refined blend of modern soul, nuanced electronics, and timeless groove.



Featuring the label’s cornerstone artists — FKJ, Darius, Kartell, Zimmer, Cezaire, Crayon, Dabeull, Lossapardo — alongside acclaimed collaborators such as Reva De Vito, Darianna Everett, Ayelle, Leven Kali, Panama, Chester Watson, Sølv, and more. From “Vibin’ Out” to “Espoir”, through “Wildflowers” and “I Can’t Stop”, this compilation captures the very essence of Roche’s sound: warm, heartfelt, and endlessly groovy. A pure analog listening experience designed for true music lovers and vinyl collectors — every groove telling the story of a decade of passion and sound.

This album brings together some of the finest music ever released on Black Jazz Records which in its short four-year history, between 1971 and 1975, released over 20 superlative albums which all successfully blending spiritual jazz, funk and soul jazz of the highest calibre. Similar to other independent jazz labels at the time, including Strata-East Records and Tribe Records, Black Jazz focussed on a number of key artists, most of whom first established their career during this period, and all of whom are featured here. Featuring The Awakening, Doug Carn, Walter Bishop, Chester Thompson, Kellee Patterson and more. Black Jazz Records was founded in Oakland, California, by pianist Gene Russell and percussionist Dick Schory.

The label released twenty albums between 1971 and 1975. Artists who recorded for Black Jazz Records included Cleveland Eaton (bassist for Ramsey Lewis), keyboardists Doug Carn and Chester Thompson, vocalist Kellee Patterson, saxophonist Rudolph Johnson, bassist Henry Franklin, and spiritual fusion group The Awakening. The label was distributed and financed by Ovation Records, based in Chicago. Schory founded Ovation in 1969, shortly after leaving RCA. Schory was a Grammy-nominated percussionist who was also known for his development of the stereo recording techniques including Dynagroove and RCA Victor’s Stereo Action. Schory also pioneered quadrophonic sound, and a number of Black Jazz Records were in quadrophonic and other formats such as ¼” tape and 8-track.

Black Jazz launched in 1971 with Gene Russell’s ‘New Direction’. Russell was the creative force behind the label, acting as producer, engineer and A&R and focussed on developing new solo artists. The most successful of these was Doug Carn, who released four albums featuring his wife, Jean Carn, as vocalist. She later changed her name to Jean Carne and became a successful soul singer signed to Gamble and Huff’s Philadelphia International empire.

2026 Repress!

(Long awaited 2026 repress, Black vinyl) While the original, 2013 version of Robert and Lyric Hood's bittersweet banger had already managed to leave tear stains on dancefloors across the globe, the 2014-released “Re-Plant” of 'Never Grow Old' has undeniably lived up to its name. As likely to be rolled out by Carl Cox as Ricardo Villalobos, 'Never Grow Old''s quickening synth stabs and piercing symbols wrap tenderly around a heart-wrenching vocal to make up a track that is both poignant and euphoric. It's the ultimate crying in the club track, the cheat code to getting crowds to embrace each other, and the track you'll probably want to ring your loved ones to tell them about, all wrapped into one.

High Cube is the beat-focused brainchild of Brian Foote (Peak Oil, Leech) and Paul Dickow (Strategy, Community Library), two low-key legends of the American experimental underground. After some 30-odd years of making music separately and together, Foote and Dickow are collaborating in earnest for the first time as a duo. For this debut, the pair enforced a simple, stringent set of rules: five instruments, a one-hour timer, and a total ban on overthinking.

The result is a record that is the sound of two old friends unplugging the usual levers and letting the "accident" of their chemistry take the wheel. It is drier, sparser, and decidedly "chunky"—a fictional band stepping into a suit to drive around for a while. It is neither dance nor chill-out, but a moody, complex trajectory defined not by the gear used to make it, but by the narrative mood it compels.

"Volcano Snail” starts things off in a disheveled shuffle, locking into gear with blurred and bubbling effluence. The shimmering dimness is lit low, with a woozy gait that recalls the headiest highs and luminescent lows of Jan Jelinek. “Underwater Welder” is a foggy, neon-lit cruise of skittering low-ends suspended in a permanent fall of color, while “A Dragon’s Treasure is its Soul” offers blown-apart, low-end city pop fragmented into an array of rhythmic detritus. Chordal textures hover in the air as a percussive loop takes its beguiling and frolicking shape.

B-side opener “Yonaguni” shapeshifts in real time, drifting with the grace of a glacier before bobbing in a frigid pool of vibrating clatter, static, and synth stabs. “Ofid+wor” offers a tried and true blitz of braindance, nodding to an endless list of 20th and 21st-century electronic body music. Buoyant closer “Mother of Thousands” holds a gravity-defying tenderness, pirouetting on a breeze with the elegance of effervescent longing. Woven together, the six extended tracks of High Cube are tethered to nothing but the ether—a giant sonic leap of peripheral absurdity from two artists with a lifetime of shared rhythm.

New Bon Vivant 7 with full power from Sakro, Michael james & Andrade
Great house cuts - highly recommended!

Last Bongo In Paris delivers a percussive-heavy 45 for selectors who dig deep.
Latin Funk heat, head-nodding hip-hop swing and subtle Bossa textures woven into raw,
organic breaks.
A versatile tool for late-night sets and serious vinyl heads.

RareTwo Inc. aka DJ Sneak and Tripmastaz are back together for 33 chambers EP, the next Respect The Craft release.

Words by Sneak:
"On a hot Ibizan summer the Rare Two fellas spent a period of 33 days on the island making tracks in a house garage with a couple of pieces of affordable gear and a whole lot of talent. We managed to create 33 tracks often burning them on CD to take to djs like Ricardo Villalobos at Amnesia and seeing the instant reaction of the crowd. We are a mega team of same mentality dudes who create from the heart breaking all rules and getting music done for a purpose. The Tripmastaz and Sneak Team is one to expect many great dance floor killers. As we call them Guttah Styles!

Words by Tripmastaz:
Recently I found these projects and since they were done on just a laptop and cheap small speakers, I gave them proper analog mixing and mastering.

All tracks remain exactly the same form and arrangement as they were originally done, including track Aww Lawd, that was featured on R. Villalobos BBC Radio 1 Pete Tongs mix back in 2018.

Mike Grinser at Mandmade Mastering did the lacquer cut and made it sound very crisp and loud a lot like it would've been cut in the 90s.

Black Truffle is pleased to present Radis, the first recording by the Oslo-based trio of Andrea Giordano (voice and organetto), Kalle Moberg (accordion) and Jo David Meyer Lysne (guitar and snare drum). Now based in Norway, Giordano is a native of Cuneo, in the Piedmont region in the north-west of Italy and her exploration of the Piedmontese language provides the starting point and conceptual anchor of the trio improvisations heard on Radis, which make use of the words of 20th century Piedmontese poets Nino Costa, Bianca Dorato and Oreste Gallina. As the musicians explain, the project is an attempt to preserve the beauty and singularity of a language at risk of extinction.

Fittingly, the first sound we hear on the opening piece ‘Fiorìa’ is Giordano’s unaccompanied voice. She sings a poem from Oreste Gallina as a kind of floating cadenza, the accompanying silence sensitizing the listener to the pellucid quality of Giordano’s voice and the unique sound of the Piedmontese language. The voice dies away and into the silence swells a single tone, sounded by Moberg’s accordion and—special guest on this opening piece—the alto saxophone of Mario Gabola. Extended techniques and preparations create unexpected timbres from the acoustic instruments: Gabola’s saxophone is augmented with tin cans and springs and Moberg’s unorthodox techniques allow the accordion to generate wheezing, buzzing textures and patterns of microtonal beating. Giordano’s voice returns, picking up the thread of the languorous opening melody, coexisting for a while with the shifting drone before the piece takes an unexpected yet organic left-turn into a delicate saxophone solo of sorts.

Recorded in several locations across Italy and Norway over the course of three years, Radis documents an ensemble who have developed both a distinctive sound-world and a remarkably sensitive group dynamic. Moving from folkish duets between accordion and Giordano’s organetto (the small accordion used in Italian folk music) to episodes of metallic guitar scraping from Meyer Lysne, the music is both quietly contemplative and gently chaotic. Ensemble roles shift with disarming ease. If on ‘Profij dëspers’ Meyer Lysne’s prepared guitar adds a haywire noise element to a lyrical episode of organetto and accordion, the next piece, ‘D’antorn a lor’, is grounded in chiming guitar chords of stunning beauty; once Giordano’s joins, the result calls up the most spacious moments of Maria Monti’s Il Bestiario. Throughout the seven pieces, the trio explore countless possibilities of group interaction and the margin between conventional euphony and pure abstraction: at times the voice floats against silence or seems almost disconnected from the gentle clatter of the instruments (sometimes reminiscent of Nikiforas Rotas’ haunting settings of Cavafy), while at other points the instruments touch on conventional harmonic accompaniment. What is perhaps most striking of all is the way that voice and instruments relate to each other, the extended technique reframing the voice as a kind of abstract sound object, while the melodic beauty of Giordano’s voice lends a contemplative, almost melancholic air to the wheezing and scraping of accordion and guitar.

Captured in gorgeously intimate recordings, Jim O’Rourke’s careful and beautifully spacious mix highlights the wealth of textural detail in each element. Accompanied by notes, session photos and the text of the Piedmontese poems, Radis is a work of stunning beauty that demonstrates the vitality of exploratory music in Norway today.

The upcoming release scheduled for 2026 is made by the Irish London-based artist Cherrie Bea. Emerging electronic artist carving out a distinct space in the UK scene with thoughtful, deep and atmospheric productions that blend house, ambient textures and soulful guitar work. Their debut EP Jafar’s 21st introduced a warm, late-night sound that’s already earned support from underground tastemakers and NTS. Their latest release, Pearlescent, highlights Cherrie Bea’s playful, experimental edge, a collection of carefully crafted tracks that invite listeners to feel, interpret and experience the music in their own way Cherrie Bea stands as a reserved and introspective figure within the electronic scene, serves as a true statement piece, live instrumentation, ethereal synths, processed vocals, and dense harmonies wrapped in a late-night / early-morning atmosphere. The forthcoming “Pearlescent” EP, released on Series of Taboo, fully embraces that mindset: 4 tracks blending house, funk, and a touch of electro.

GRAMMY-prämierte Rap-Ikone Nas und DJ Premier – zwei der einflussreichsten und angesehensten Persönlichkeiten der Hip-Hop-Geschichte – veröffentlichten ihr mit Spannung erwartetes Kollaborationsalbum „Light-Years“ am 12. Dezember digital über Mass Appeal Nach den limitierten Day Ones Editionen gibt es nun die regulären Editionen mit Artwork, ab 20. Februar 2026.

Nach jahrzehntelanger Vorfreude ist „Light-Years“ die Wiedergeburt einer 30-jährigen Zusammenarbeit. Die Partnerschaft von Nas und DJ Premier ist tief in der DNA des Hip-Hop verwurzelt. Ihre Geschichte begann 1994 mit „Illmatic“, das Hits wie „N.Y. State Of Mind“, „Memory Lane“ und „Represent“ hervorbrachte. „Illmatic“ etablierte Nas als Ausnahmetalent und festigte Premiers damals aufstrebende Karriere. Ihre musikalische Chemie vertiefte sich im Laufe des folgenden Jahrzehnts durch Klassiker wie „I Gave You Power“, „2nd Childhood“, „Nas Is Like“ und „N.Y. State Of Mind Pt. II“.

Angeführt von Mass Appeals bahnbrechender Reihe „Legend Has It…“, die einige der wichtigsten und einflussreichsten Hip-Hop-Künstler aller Zeiten feiert und ins Rampenlicht rückt, präsentierte die Reihe ein ganzes Jahr lang historische Veröffentlichungen von Kultur prägenden Künstlern wie Slick Rick, Raekwon, Ghostface Killah, Mobb Deep, Big L und De La Soul. Mit „Light-Years“ liefern Nas und DJ Premier den krönenden Abschluss dieser legendären Reihe, in der ihre unbestreitbare Synergie nach wie vor einzigartig ist.

2006 zierten Nas und DJ Premier das Cover des Scratch Magazine und kündigten ein gemeinsames Projekt an, das die Begeisterung der Fans erneut entfachte und die zwei Jahrzehnte währende Vorfreude beflügelte. Letztes Jahr taten sich Nas und Premier zusammen, um das 30-jährige Jubiläum von „Illmatic“ mit der Veröffentlichung des neuen Tracks „Define My Name“ zu feiern, mit dem sie erstmals ihr wegweisendes Kollaborationsalbum ankündigten.

„Light-Years“ ist ein wahrer Beweis für den Einfluss beider Künstler, ihr Vermächtnis und die Zeitlosigkeit ihrer gemeinsamen Musik.

Singer-songwriter and multi-instrumentalist Son Little expands his musical palette on his upcoming album, Cityfolk. Blending elements of soul, folk, and blues, Son Little captures his signature sound along with expressive yet personal lyrics. Cityfolk is a reflection on love, loss, and finding peace in the chaos. It"s about holding on, letting go, and learning to breathe again when the world feels heavy. Born Aaron Earl Livingston to a preacher and a teacher in Los Angeles, Little"s collaborations with The Roots and RJD2 helped him make a name for himself in his adopted hometown of Philadelphia. Critics were quick to recognize the unique power of Little"s solo recordings, which stripped the past for parts that could be reconstituted into something wholly new and original. NPR hailed Little"s "impeccably crafted songs" as "honest and unpretentious," while The Independent proclaimed him "a formidable talent." Since then, his catalog has racked up over 250 million streams, and Little has toured with everyone from Leon Bridges and Kelis to Shakey Graves and Mumford & Sons alongside festival appearances at Bonnaroo, Newport Folk, and more. Never one to rest on his laurels, Little also earned a GRAMMYî for his work helming Mavis Staples" acclaimed "See That My Grave Is Kept Clean."

Detroit powerhouse vocal trio Dames Brown make their long-awaited debut with ‘Take Me As I Am’, a bold, soulful celebration of the Motor City’s sound and a heartfelt tribute to their late mentor, Amp Fiddler.

Crafted at Amp’s legendary home studio, the album captures the essence of Detroit through rich instrumentation, gospel-infused harmonies, and unfiltered soul. Blending house, funk, techno, and 70s groove, Take Me As I Am embodies the city’s spirit; timeless, raw, and full of life.

Featuring collaborations with Detroit icons Andrés, Eddie Fowlkes, and Waajeed, standout tracks like ‘You’re The One For Me’, ‘Glory’, and ‘What Would You Do’ showcase the trio’s unmatched energy and vocal chemistry.

Across fourteen tracks, Athena Johnson, Teresa Marbury, and LaRae Starr channel the soul of Motown, the groove of Parliament Funkadelic, and the power of Aretha Franklin, uniting their influences into one authentic, uplifting sound.

With nearly a decade of releases on Defected and its sub-labels, including collaborations with Sophie Lloyd, The Vision, Floorplan, and Horse Meat Disco, Dames Brown continue to shine as one of Detroit’s most dynamic vocal collectives.

‘Take Me As I Am’ is more than an album… it’s a declaration of love, legacy, and Detroit soul.