quête:chris rhythm

Adeen Records digs deep once again for a new offering that taps into some seriously swaggy and soulful house. Dav Risen is behind them and is a South African DJ and Producer from Soweto who wears his Christianity with pride, and that religiousness also defines these sounds which are a spiritual journey into deep house with plenty of life-affirming harmonies Dav delivers a powerful, purpose-driven title track that glows with warm pads and a rhythm section that feels both grounding and uplifting, making it perfect for sunrise sets or late-night introspection. 'Don't Worry About It' is just as deep and moving, 'So Long' has warm organ chords and 'You Can Make It (feat DJ KK)' closes with another loved-up vibe.

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this 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.

Nachdem sie auf ihrem gefeierten Debütalbum ein multidimensionales Klanguniversum definiert hatten, verlassen der Komponist und Filmemacher Chris Hunt und James ,Munky" Shaffer von Korn auf EXINFINITE das Vertraute und driften in ein Reich der Rekursion, wo sie auf ein Gewirr aus gespiegelten Wurmlöchern blicken, die mit unheimlicher Mehrdeutigkeit summen. Das zweite Album von VENERA ist düsterer, heavier und perkussiver als sein Vorgänger, aber es gibt etwas Intimeres in seinen Schaltkreisen, das schwer zu definieren ist - etwas Mystisches, Geheimnisvolles und Melancholisches. Songs materialisieren sich aus dem Nichts, nur um von sauren Synthesizern aufgelöst oder von Hunts geschärften Beats durchbohrt zu werden, während Shaffers dichte, gequälte Riffs durch euphorische, zeitverzerrte Vocals von FKA twigs, Dis Fig und Chelsea Wolfe ausgeglichen werden. Nach ihrer Begegnung mit der Unendlichkeit haben VENERA nach innen geschaut, über die Grenzen der Existenz nachgedacht und ihre tiefsten Emotionen ausgegraben. VENERA entstand 2022, als Hunt und Shaffer nach Aufnahmen mit der albanischen Künstlerin Xhoana X. ihr eigenes musikalisches Terrain betraten. Das Duo improvisierte gemeinsam und experimentierte mit cineastischem, von Science-Fiction inspiriertem Sounddesign und erkannte, dass die Zusammenarbeit Potenzial hatte. So begannen sie, ihren Sound weiterzuentwickeln und zu verfeinern, wobei sie Unterstützung von Deantoni Parks, dem ehemaligen Schlagzeuger von Mars Volta, Alain Johannes von Queens of the Stone Age, dem Post-Punk-Duo VOWWS und den LA-Noise-Rock-Legenden HEALTH erhielten. Nachdem ihr Debütalbum 2023 auf Mike Pattons Label Ipecac erschienen war, setzten VENERA die Dekonstruktion und Neugestaltung ihres Songwritings fort, tauschten Eno-artige Ambient-Atmosphären gegen explosive Beats und dichte Texturen aus und fanden heraus, wie sie die von ihnen eröffnete Erzählung erweitern konnten, ohne alte Pfade zu beschreiten. Auf ,Tear" ist die neue Richtung des Duos deutlich zu hören, wenn Shaffers ursprüngliche Gitarrenklänge zu unheimlichen Widescreen-Expositionen umgestaltet werden, die Hunt mit pneumatischen Kick- und Snare-Zyklen untermalt. Unterbrochen von Luftschleusen-Zischen und leuchtenden Synthesizern, bietet der Track eine Kulisse, die VENERA kontinuierlich verwandelt und das Konzept im Laufe des Albums neu formt. Die Kult-Singer-Songwriterin Chelsea Wolfe gibt dem düsteren ,All Midnights" einen gotischen amerikanischen Touch, indem sie kraftvoll über VENERAs vakuumverpackte Rhythmen und gasförmige Synthesizer singt, und der in Berlin lebende Noisemaker Dis Fig, der bereits mit The Body und The Bug zusammengearbeitet hat, verleiht Shaffer und Hunts tape-verzerrten Industrial-Pops und -Whirrs in ,End Uncovered" hauchige, emotional vielschichtige Töne. Sie lassen squelchigen, verlangsamten Techno in okkulte Noise-Reflexionspools auf dem schlängelnden ,Asteroxylon" einfließen, und Hunt antwortet auf Shaffers hallende Zupftöne mit Nebelhorn-Stöhnen auf dem unheilvollen, nachdenklichen ,uuu773". ,EXINFINITE" baut sich kontinuierlich auf, bis es ,Caroline" erreicht, eine intensive Zusammenarbeit mit FKA Twigs, die ihre unheimlichsten Töne isoliert. Zunächst umspielt sie ihre Worte mit bedrohlichen elektrischen Verzerrungen und verstümmelten, geisterhaften Stimmen, bevor sie in einen aufgeladenen opernhaften Schrei ausbricht, dem Shaffer und Hunt mit flirrenden kybernetischen Beats und dichten Wänden aus Gitarrenlärm begegnen. Dieser Track bricht das Konzept von VENERA vollständig auf, verschmilzt das Synthetische mit dem Natürlichen und löst Dysphorie, Selbstverlust und unendliche Regression aus. So wirken der blutrünstige Lärm und die finstere Atmosphäre von ,Decreation" wie eine dissoziierte Coda. In ,EXINFINITE" werden Zerstörung und Tod nicht überwunden, sondern so lange intensiviert, bis sie sich vollständig verwandeln.

The second volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

Long kept in the shadows, "+ Ou – 8000" is a rare gem of the French musical avant-garde, born from the meeting of three
composers at the peak of their inventiveness. Initially intended as sound illustration, this album crosses the boundaries of
library music, space jazz, and electronic experimentation, with a freedom and boldness that today give it cult status.
Teddy Lasry, an iconic figure from the MAGMA universe, has always moved between jazz, progressive rock, and electronic
music. A saxophonist by training, he explores here synthetic and spatial territories with striking modernity.
Francis Mercier, discreet yet remarkably effective, is a sound craftsman who left his mark on many library music records
in the 1970s. Here he delivers precise rhythmic textures, tense atmospheres, and a minimalist groove mastery.
Christian Perraudin, a chameleon composer bridging academic music and film scoring, brings his cinematic touch—
floating melancholy and sci-fi tension. A true artisan of sonic ambiance.
Boldly visionary, + Ou - 8000 is an invitation to active listening, a journey into the heart of a fascinating sound laboratory.
This unprecedented vinyl reissue is a unique opportunity to (re)discover a crucial record that remained out of reach for far
too long.
Limited edition – for lovers of rarities, analog synths, and genre-defying musical exploration.

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. 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 original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

Breidenbach returns with its third vinyl release, a four-track V.A. titled Nothing Can Go Wrong — a confident outing from the Heidelberg-based imprint, built around minimal house aesthetics, dub accents, and deeply hypnotic cuts. Uniting artists from Japan, Germany, and Sweden, the EP brings together three distinct voices aligned by a shared sense of groove, texture, and restraint.

On the A-side, Sasaki Hiroaki opens with "Groove Keep Practice", a warm, rolling Deep House track laced with sensual female vocal snippets and dubby pads. Subtle delays, spaced-out beats, and a fluid rhythm create the perfect recipe for dancefloor hypnosis. FilOu follows with two cuts: "Stampede" on A2 is crisp and crunchy, driven by a syncopated, funk-leaning bassline and surrounded by micro-glitches, sampled stabs, and airy textures that keep things moving. On the flip, "Astral" expands the palette with similar percussive tightness, but the basslines hit deeper, growling through the arrangement with attitude — hypnotic, consistent, and built for long blends. Chris Llopis closes the V.A. with "Aetherial Haze", a bright and melodic entry full of FM-style synths, scattered vocal snippets, and dubby echoes. It’s the most playful moment of the EP, but still rooted in the heady minimalism that runs through the entire release.

With Nothing Can Go Wrong, Breidenbach continues to define its space — thoughtful, functional records built for DJs who know that less is often more.

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

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"

Shuffle Valley kicks off its vinyl journey with a debut EP from label head Donnie Cosmo, presenting three original cuts that move through groove, breaks, and deeper sonic moods—plus a refined remix by Christopher Ledger.

The A1 sets the tone with a warm, groove-driven track aimed squarely at the dancefloor. Elastic basslines and shimmering percussion give it a rolling energy, while subtle psychedelic flourishes invite a kind of movement that’s both physical and inward.

Let Yourself Go ventures into the breakbeat territory, playing with loose, broken rhythms before smoothly transitioning into a steady 4/4 pulse. It’s a shape-shifter—fluid, unpredictable, and full of momentum.

The third original dives deeper. Hypnotic and introspective, it leans into a more mental space—spacey yet grounded, contemplative yet still groovy.

Closing the EP, talented Christopher Ledger offers a sleek rework of A2, adding space, clarity, and emotional weight. His remix floats with precision, enhancing the atmosphere while staying true to the original’s mood—a fitting final note for Shuffle Valley’s first vinyl chapter.

Grisline is a fresh-born label exploring the balance between light and shadow — a sonic playground where genres blend, bend, and collide. Rooted in the pulse of electro, techno, and house, we’re drawn to contrasts, emotions, and movement, always in search of unexpected harmony.

Our first release comes from Fabrega & Christian, delivering four original tracks that chart a dynamic journey across the dancefloor. The title track, Dark Chai Bowl, opens with a groovy electro cut full of harmonic twists and crisp synth work, setting the tone for the ride ahead. Onda Vampiresca dives into darker territory, layering driving rhythms with flickers of brightness — a hypnotic blend for losing yourself in the moment. On the flip, Lilac Lebal ramps up the intensity with a percussive, floor-focused tool built for peak-time energy. Finally, Lampin’ (featuring Ku$h) winds things down with a smooth, atmospheric break — perfect for the after-hours or sunrise sets.

A1 - Tried So Hard
Intensely atmospheric from the outset, Tried So Hard sees ASC explore a more minimal approach to breakbeats with sparse drums and kicks tentatively held at arm's length by imposing hi hats. Dripping with depth and a dense layer of synthwork enveloping the landscape, this unique track develops continually with a suite of interlocking effects while the vocal yearns "I've tried so hard" - both haunting and thought provoking.

A2 - Parallel Seas
Cheery synths and lively bongos introduce us to Parallel Seas, which quickly becomes a glorious, powerful amen workout providing that perfect blend of atmospheric bliss alongside crunchy, analogue amens programmed with ASC's exquisite attention to detail - crashing triumphantly to an upbeat rhythm, littered with rousing vocal hits, elegant synthwork and nods to yesteryear galore.

AA1 - Alacrity
An energetic, surging breakbeat powers Alacrity as ASC utilises breaks reminiscent of classic driving atmospheric tracks of the past from scene legends including Intense and Artemis. Uniquely constructed with a pulsating, fluid energy, the break pattern utilises relentless kicks, cymbals and a wonderful long snare primed to move the dancefloor as synths wash and a lush vocal whooshes along in ecstasy.

AA2 - Glimmer Of Hope
Jumping straight in with a DJ-friendly beat intro, ASC selects a crisp, definitive selection of old school cuts for Glimmer of Hope, chopped and served with a barrage of sci-fi effects, micro melodies, a bellowing, rumbling bassline and a serene intensity driven by dreamy pads resulting in a perfect patchwork of elements, offering endless layers of detail for your ears to pick through with each listen.

Words by Chris Hayes (Spatial / Red Mist)

Orphx makes a striking comeback with a six-track EP on KR3, celebrating Rich & Christie's three-decade career in the industrial music scene.

Theikos EP - spans multiple eras and moods, merging raw, ancient production methods with modern interpretations. The result is a sonic landscape that bridges pulsing club rhythms with the intense energy of extreme electronics and death industrial. The title track, "Theikos," began in 1998 and was only finalized in 2024, years of evolution shaping it into a truly formidable piece.

This 12" release stands out as a deep and fully realized body of work, filled with personal insight and resonant echoes of a primordial world.
The standard edition comes in a sleek single-pocket gatefold sleeve, featuring a 1997 photograph taken in Toronto by Michael Nine, capturing the duo in their early years and visually anchoring the album to the roots of their sound. Limited and special editions include an exclusive booklet with archival photos of Orphx and a poster, along with a promotional videos featuring remastered and reimagined archival footage created especially for this release.

J.E. Movement's groundbreaking ‘Ma Dea Luv’,

Toward the end of the 1980s South Africa's recording industry was booming. Searching for a sound that could cross over to all in the country's segregated society while also eyeing international success, a new duo emerged that quickly rendered its 'bubblegum' predecessors obsolete. Drawing on international trends and crafting lyrics for local ears, J.E. MOVEMENT — a duo made up of James Nyingwa and Elliot Faku — exploded onto the local scene with their debut album, 'Ma Dea Luv'. The future had arrived.

A talented bassist and composer, Nyingwa was at the time employed as an in-house producer at TRS Studios in Plein Street in downtown Johannesburg, run by two Greek immigrants, George Vardas and Chris Ghelakis. Together they formed a close bond as friends and musical partners at what would become CSR Records, recording original hits with acts like the NEW AGE KIDS and SIDNEY, while also cashing in on cover versions as BLACK BOX.

The six tracks on J.E. Movement’s 1988 debut give firm nods to UK Street Soul, New Jack Swing and Stock Aitken Waterman's 'Hit Factory' sound and infuse them with an African rhythmic flair and homegrown lyrical sentiment. Though not expressly political, the title track was received by many as a play on words referencing then-jailed and banned Nelson Mandela (coming after the similarly styled 'I'm Winning My Dear Love' by Yvonne Chaka Chaka in 1986 and 'We Miss You Manelow' by Chicco in 1987), giving it an added potency for those in the know. 'Jack I'm Sorry' was an underground hit in the townships, while 'Marco', 'Friends', 'Funkytown' and the eponymous closer are similarly bass and drum-driven, with hiphop-styled vocals.

For his second output on his own label, the Swiss electronic composer Robin Félix, takes this time the listener to West-Africa ; that said, Incantation is lightyears away from “world music”, but closer to the first “Fourth World” LP Jon Hassell recorded with Brian Eno. Moreover, Robin has teamed up with fellow Swiss sculptor, Christian Pauchon, who makes “woodoorina”, inspired by “bolis”, some rather objects used by the Bamanas in Mali and neighbouring countries, that ethnologists view as “fascinating mediators between man and his environment” ; a topic that led the Mauritanian Abderrahmane Sissako and Damon Albarn to compose the opera, The Theft of the Boli. Right from the outset of Goat Skin, one realises that Robin has applied his idiosyncratic way of (mis)treating field-recordings, to dissect and re-model an array of woodoorina calls (sometimes close to drones) entwined to a rhythmic pulse, conjuring up a starry night under which a shaman, adresses his incantations to the spirits of Nature. Robin Félix being who he is, as soon as Corten, his form of quiet electronics show that he is no stranger to Throbbing Gristle or Cosey Fanni Tutti, the self-explanatory Ritual Smoke taking it a little further. The spellbinding organic basses of Rains and Cauris, fused to textures that remind the experiments of David Toop and the electroacoustics of Pierre Henry, lead the listener even deeper into a contemporary avatar of a spiritual journey. In tune with the “call and response” mode, ubiquitous in African music, Pangi brings the EP even closer to the beating heart of the continent, the interactions of the sculptor and the composer blending to such a point that one may wonder if they have exchanged roles. As a meeting point of disciplines and art forms which are not supposed to meet, Incantation is also a convincing demonstration of what the word “inspiration” means, the superb visuals included ; of course, it requires a lot of finesse and respect on all sides

Satya is excited to welcome Sweden’s very own Chris Llopis, a veteran of electronic music, with his highly anticipated EP Echo Ridge, to its vinyl only catalog.

Chris has been a prominent figure in electronic music since the late ‘90s, releasing on respected labels like Fabric Records, Tooloop, and Micronica. Inspired by a trip to Spain at age 13, Chris began DJing on Technics SL1210 turntables and later immersed himself in Copenhagen’s vibrant techno scene. His first vinyl release on Tatsu in 1998 brought him global recognition. Today, Chris’s sound blends timeless influences with modern techniques.

Echo Ridge is inspired by Chris’s love for funk-driven bass lines and the energy of underground raves. “I wanted to create tracks with strong rhythms and a playful edge,” he says. “The bass line is the soul of a track, and this EP captures the vibe of late-night moments when everything clicks.” The EP combines the groove-heavy minimal style of the late ‘90s with a fresh, contemporary edge, delivering tracks that energize the dance floor.

Chris’s creative process thrives during early morning studio sessions. “It’s the perfect time for clarity and creativity,” he shares. For Echo Ridge, Chris used iconic gear like the Juno 106, Elektron Analog Four, Eventide H3000, and Roland Space Echo RE-201, alongside Ableton 12 and Max for Live, to craft its warm, textured sound.

Out on the shelves June 13, 2025, the EP is a celebration of Llopis’s evolution as an artist and his deep connection to the dance floor. With its groove-driven energy and meticulous attention to detail, the release is a must-have for fans of minimal house and vinyl enthusiasts alike.

"Throughout all my time as a musician and producer, ever since Jack the Tab, I've been focused on developing a single idea: Blending psychedelic sounds and effects with rhythm." Richard Norris, Strange Things Are Happening White Rabbit 2024

Over the past few years Eskimo Recordings have invited some of thebest crate diggers around to curate compilations that don't just reveal the hidden contents of their record bags but something about themselves too. Now, following in the footsteps of the likes of Bill Brewster and Psychemagik, producer, musician, DJ, writer and more, Richard Norris, takes us on a globetrotting psychedelic journey with the epic 42 track collection, Mr Norris Changes Brains.

For over forty years Richard has played a part in many of the UK's most important music subcultures. Whether sharing stages with the likes of Tracey Thorn as a pubescent punk in St. Albans, or running freakbeat nights in Liverpool and working at the pioneering psychedelic label Bam Caruso, co-producing the UK's first acid house inspired LP with Throbbing Gristle's Genesis P. Orridge or riding the wave of creativity that the second summer of love unleashed all the way to the Top of the Pop studios as The Grid, Richard's career has continually seen him work to expand both his own and the public's musical horizons.

With Mr Norris Changes Brains it's the most recent part of his mercurial career that he's focused on. Drawing inspiration from his post 2006 adventures as one half of Beyond the Wizard's Sleeve, alongside Trash's Erol Alkan, this compilation shows how a more connected world has blown the dust off a paradoxically sometimes straightjacketed scene. The result is a dizzyingly wide-ranging collection that explores the further out there reaches of worldwide psychedelia and dancefloor mayhem.

"A lot of these tracks are fairly recent discoveries, things that I've discovered from around the time I started working with Erol and going right up to today," Richard explains. "Whether that's from going out to play and finding new records in places like Istanbul or just connecting with people online from all around the world. Psych can sometimes be a sort of narrow-minded field, with everything having to sit in its specific niche, but more and more people are open to new sounds and that's allowed for a much broader selection."

Despite their disparate origins what does unite these tracks is that they aren't just there to zone out to on a bean bag as projections of swirling coloured oils and psychedelic patterns wash over you. Mr Norris may change brains but his DJ sets also move feet, and whether it's their killer guitar riffs, oscillating synths floor shaking drums or soulful Hammond organs these are all cuts that from festival tents to underground clubs have proven time and time again to get people dancing.

"With a lot of these tracks there's a kind of fun element in them," says Richard. "It's still psychedelia, but they've also got these solid, funky grooves. They sound phenomenal on the dancefloor and as much as these records might excite old psych heads, this compilation is also for a new generation out there who might have never heard anything like this before and, just like when I was 18 and heard The 13th Floor Elevators for the first time, think 'Oh, my God, what on earth is this and more importantly what else is out there?'"

A multifaceted artist, who over his career has traversed between singer-songwriter, hit producer, DJ and curator, Ben Westbeech now arrives on Glitterbox Recordings with a fully realised artistic vision on his new album Everything Is Within You.

Encapsulating Ben’s appreciation of the power we all have within us to achieve joy and peace, as conveyed sonically by all the musicians involved, Everything Is Within You came together organically. His first full length solo LP since the acclaimed There’s More To Life Than This on Strictly Rhythm in 2011, Everything Is Within You showcases Ben’s artistic development as a songwriter, curator and producer as he steps into his role as producer and arranger, away from lead vocalist.

“This album is about speaking the truth. The truth from within. Luckily, I have been blessed to come across the paths of other artists that shared the same sentiment over the seas that dwell. These artists all feature heavily on this record. It isn’t about me or you. It’s about everything that is within.” – Ben Westbeech

Spotlighting featured artists such as Dames Brown (recorded by Moodymann in Detroit), RAHH, Karen Harding, DAVIE and Obi Franky, with co-production credits including Honey Dijon, Luke Solomon and Chris Penny, as well as Mousse T., the record was born out of a Glitterbox writing camp in London at Defected’s studios. The collection of records that were made that week became a catalyst for the full album, now arriving on Defected’s Glitterbox Recordings.

An artist with a rich musical history, from the release of his mature debut album Welcome to the Best Years of Your Life for Gilles Peterson’s Brownswood, to his chart-topping club records as Breach, and work as The Vision on Defected, the path to this new album has included periods of sobriety, self-work, spiritual exploration and the integration of a healthier outlook all round. Now based in Ibiza, the omnipresent energy of the magical island has permeated into the music on his new album, as well as the influence of his personal and spiritual growth.

Exploring a range of genres across the LP, from neo soul to house influences, the breadth of Ben’s musical knowledge is demonstrated throughout the eight tracks. From the blissed-out piano grooves of ‘Times Are Changing’, since remixed by house royalty Louie Vega and Josh Milan as Two Soul Fusion, to the uplifting ‘Do Me Right’ and the emotional soundscapes of ‘So Good To Me’, Everything Is Within You puts the emphasis on the guest vocalists. With exquisite live instrumentation and songwriting that give the record an evergreen feeling, this is a timely album that exudes a contagious, positive feeling throughout, something the world needs right now.

Limited 2025 Repress
Black Truffle is pleased to announce the release of Ichida, the first release from the duo of two important yet often underappreciated musicians, Eiko Ishibashi and Darin Gray. Ishibashi is a singer-songwriter, keyboardist, drummer, and multi-instrumentalist, known in Japan both for her own elaborately conceptual solo albums and for her frequent collaborations with figures such as Jim O'Rourke, Merzbow, and Phew. Darin Gray is a bassist and multi-instrumentalist known for a multitude of collaborations (with O'Rourke and Loren Connors, among many others), for On Fillmore, his cinematic post-exotica project with Glenn Kotche, and as one half of Chikamorachi with Chris Corsano, one of the finest free-jazz rhythm sections around. Presenting the entirely of a live set performed at Tokyo's Super Deluxe in March 2013, the set begins as a duet for Ishibashi's flute and Gray's upright bass. Calmly melodic yet harmonically inventive, with shades of 'spiritual jazz', the pair's acoustic ruminations are gradually joined by Ishibashi's lush electronics, which randomly flicker between chords in a manner recalling the classic work of David Behrman. As the electronics build into a gloomy fog of slowly cycling loops, Gray lays his bass aside and turns to making strangely mournful interjections on a mouthpiece. Eventually Ishibashi moves to the piano, enveloping the audience in rippling pools of sustained, octave-doubled melody, provided by Gray's bass with a fluid and dynamic foundation. For much of the second side, both Ishibashi and Gray turn to electronics, ultimately arriving in a bizarre space of melancholic arpeggios and random sputter and sizzle, oddly reminiscent of 70s outsider prog acts like Wapassou. An uneasy coda of rich piano chords ends the set. Captured in warm room ambience and beautifully mixed by Jim O'Rourke, Ichida is a rare combination of improvisational acumen and emotional directness, both adventurous and immediately accessible.

Pathagonia, the talented Italian duo of Noha & Alex Tea, have their first release on HOME//GRXWN. With their EP entitled - 'Let Me Go'. On the A-side, 'Let Me Go' delivers a hypnotic, groove-driven beat. 'Swirl' follows, with its infectious bassline and uplifting energy. On the B-side, 'Atomic' draws you in with its deep, rolling percussion, making it a staple across dancefloors. Closing the EP with 'Boys Can Cry' a high-energy final track with euphoric synths with rhythmic hooks. The EP has already had support from the likes of Enzo Siragusa, ROSSI., Chris Stussy & More.

The 3rd PIMP; with this time a Remix EP of Tik Tok Taylor's & Dilks track "Unlawful". This label is a member of the Flatlife Records Labelgroup. Tik Tok Taylor is still very much missed - we will never forget him. Note: The names from tracks A1 & A2 were accidentally reversed on artwork.

Christian Kleine continues to unearth long-lost transmissions with Electronic Music From The Lost World: Vol.2 - another batch of pristine artifacts from his personal DAT archive. Much like its predecessor, this release serves as both a time capsule and a reminder of Kleine’s effortless blend of melodic warmth, intricate rhythm programming, punk influences, and a deep-rooted love for the fringes of electronica.
Where Vol.1 felt like an invitation back to the late ‘90s, a time when IDM was still an evolving conversation, this second volume extends the dialogue, revealing more of the sonic experiments and fully-formed pieces that never saw the light of day. Tracks recall specific moments from Kleine’s time living in Berlin, an era of minimal comforts but maximal creativity, where all that really mattered was that the PowerPC, sampler, and synths kept running. This period of introspection, coupled with the musical freedom afforded by cheap rent and late-night school classes, shaped the deeply personal and solitary sound of these recordings.
Visually, Vol 2 shares its origins with the first volume, as Midori Hirano’s stark Berlin photography forms the foundation, and Noah M / Keep Adding pushes the imagery into a brighter, more reflective final space. Final touches remain in familiar hands, with LOOP-O on mastering and lacquer duties, bringing new life to Christian’s OG DAT recordings. 
And much like the classic City Centre Offices era that shaped this sound and Kleine’s early career, this release nods to that legacy. A special limited 7” EP with two bonus tracks, designed in tribute to CCO’s iconic DIY aesthetic, will be available on release day direct from the label’s Bandcamp. 

Written and recorded in singer-poet Karsyn Henderson, guitarist-banjoist Paul Lecours and percussionist Ryley Klima’s basement alongside bassist Chris Clegg, then mixed and mastered by longtime collaborator Noah Baxter, this self-produced introductory effort from the Montréal four-piece stylishly amalgamates elements from hardcore, punk, shoegaze, sludge, and folk.

Violence is a brazenly poetic homage to small town roots, a mashing of modern Western Canadian hardcore and folk. Extensive in scope, this debut full-length by Truck Violence takes the listener through wide-ranging dynamics, from solemn acoustic ballads to wrathful electric anthems. Deftly fractured rhythms and breakdowns, complex harmonic entanglements, emphatic screams of discontent, are met with hopeful, melodic tracks musing about the steady grip of a tight-knit community.

From somber, deceivingly happy banjo sequences to crashing noise and cries, Violence uses expression as a mirror, looking upon oneself with clarity, aiming to attain a sense of unadulterated truth of the matter. There is little modern music taking an honest look at the Western Canadian countryside, tackling themes such as addiction, abuse and dysfunction.

Truck Violence’s first album does just that, uniquely capturing this involuted setting through a wide lens to both contextualize and emphasize what it means to be overwhelmed, to feel shame, to struggle with self-destructive ways, to thrust oneself into art as an escape.

SEVEN releases their second EP from label co-founderCRYME, titled Reality Rush. This EP blends classic,atmospheric house with a modern mix.
A1 - Reality Rush is an upbeat house track with playful sounddesign, classic drums, steady rhythm, and a powerful bassline.It sets an energetic foundation for the EP, inviting listeners toexplore SEVEN's distinct sound, balancing house and techno.
A2 - Christoph Faust's remix of Reality Rush is inspired byDetroit. It features a heavier kick, slower tempo, and a moresluggish vibe. He retained the big synth stabs, reversed thevocals, and added familiar old school vocal samples.
B1 - Aurora is a stripped back to basics. It has a soothing, laid-back vibe with percussion-driven beats and prominent congas,perfect for a late-night ride through the city.
B2 - Orbit Exp. is a groovy house track features ever-changing,pulsating pads that create and release tension, giving theillusion of drifting away in space.

1. Watermelon Man
This track version actually came from an improvisation that Allesandro IIona (Keys) made on a live show at RonnieScott's at the start of the year. I think we were were having some issues with one of the monitors on stage and it juststarted making this beeping sound. Then I remember Alleh just came in with that piano riffat the start and the rest was history. This one of thefirst tracks we recorded for the EP and I'm super pleased with how this one turned out. Afterseeing Herbie Hancock live for thefirst time the year before, this felt like the perfect tribute to him!

2. Mandible
The majority of the writing on this album was done at my studio space in Hither Green, where I am every tuesday! I usethis space to record but mainly a space to develop my art. So this EP all came from a few sessions there. We all haveour own creative things going on so it was really great to collaborate as a band and trash out some ideas we had.Mandible is one of my favourite tracks on the EP. It's very simple but leaves us a lot of space to explore some more freeimprovisation. I think in some of my previous recorded music I was more focused on creating well crafted music withgreat melodies and harmony. Whereas here there's a bit more focus on playing as a group and being more explorative inimprovisation. We also didn't have a melody for this track until a week before the recording! Sometimes it just takes awhile tofind that melody or it might just pop into your head one day.

3. Slum
This is a tune that was actually written by myself in 2017/18. Round about that time, I had been playing at a jam night ata warehouse unit in Limehouse called Unit 31. The night was ran by Pianist Raffy Bushman and Drummer Sam Michnikand was focused on hiphop and Jazz fusion. We would usually play a set of instrumental music before it opened up forvocalists and other instrumentalists to come and jam. It was a great place to try out new ideas, so I wrote this tune for itbut we never recorded it. It was really nice to revisit this tune and get it recorded properly at 'That SoundStudios' (Seven Sisters). This track is all about dynamics and a slow build throughout. Descending to more chaos at theend!

4. Red Pistachio
For thefirst two sessions we wrote with a different bass player to Edmondo Cicchetti who is on the recordings. A greatbass player and friend of mine Tom Driessler. This track started kinda exactly how it starts on the record, with that basshook. I'm very influenced by Christian Scott Atunde Adjuah and his melodic writing. Particularly on his album 'StretchMusic'. So this felt really inspired by that album. The chords don't really move around too much until the solo sectionwhere it becomes more like a blues. Then Allesandro get's a bit more loose at the end with the descending sequence.

5. Jerome arrived Late
Quite simply we started writing this tune before Jerome (Drums) arrived late. In the recording session we were a bitundecided about what to do in the solo section. We tried out a few different options before we eventually landed onfeaturing Gabriele Pribetti on Sax. I'm really into his solo on this as it's rhythmically and dynamically really exciting. As Imixed the record it was also a great solo to mess with and run through lots of different plug-ins. There's some weirddelays and phasing going on that and I added some octaves too in places.

Back In Stock!

Throughout the past decade Paris-based producer, DJ and label owner Dj Steaw has gained widespread recognition as a bastion of raw, authentic music in the contemporary scene.

His material has found its way onto the likes of PIV Records, Hot Haus, Meta and of course his own Rutilance, Steaward and House Puff imprints.

Here we see him joining Kerri Chandler’s Kaoz Theory with his latest release and the title-track ‘Colour Of Mind’ opens the package with shuffled, dynamic drums and hypnotic vocal chants alongside bumpy stabled bass, squelchy acid licks and airy dubbed out chords.

‘Dance To The Rhythm’ follows next, stripping things back to low slung drums, echoing stab sequences, subby swells and breathy vocal cuts.

‘I Can’t Feel It’ follows on the flip-side next, heading back to a more classic house aesthetic with a gritty bass hook, organ lines and ethereal textures running atop crunchy drums.

‘Star Ready’ finally concludes the EP on a deeper tip, bringing circling synth swells, elongated bass tones and skippy percussion into the limelight.





Upfront DJ Support:

Kerri Chandler
Dennis Quin
Chris Stussy
Fabe
Cinthie
Franck Roger
Ben Rau
Jimpster
Ruff Stuff
Julietta
Chrissy
Demuir

DJ support: Chris Stussy, M-High, Prunk, Cinthie, Michel de Hey, Locklead, Dennis Quin

When Souls Collide - A soulful fusion of sound and spirit, this track invites listeners to experience a harmonious clash where emotions and rhythms intertwine.

Shy Time - Inspired by the vibrant energy of Chicago, this deep house gem brings a raw, underground vibe that captivates and moves the dance floor.

Feel Free - A high-octane heavy house anthem, 'Feel Free' is designed to electrify any dance floor with its cutting-edge beats and infectious energy. Prepare for some real damage!

Dexed Tek- The perfect B-side to complete the EP, 'Dexed Tek' features dubby chords layered over a powerful beat, creating a deep, immersive soundscape that resonates long after the last note fades.

Repress!

“Natale in tangenziale” (“Christmas on the highway”) – available in all digital stores and in 7” format – marks an extraordinary tribute to the timeless Italo Disco style and captures the charm of an Italian Christmas, almost like in a dystopian “cinepanettone” (the stereotypical Italian, Christmas-themed, comedy movie).

The record is a creation by Maurizio & Dandolo, and represents the debut of Mirella Records, a label founded by Cosimo Mandorino, already known for several projects in the italo and electronic styles on specialized labels such as Best Record, Slow Motion Records, Disco Segreta, Bordello A Parigi.

“Natale in tangenziale” will instantly transport you into an Italian Christmas atmosphere, with captivating synthesizers and engaging rhythms. The voices perfectly capture the warmth and joy of the holidays.

The original song is accompanied by a breathtaking remix curated by Whodamanny.The remixer’s unique touch on the special dub version present on the B side adds further rhythmic elements that make it perfect for the dancefloor.

A 45 rpm single from an alternative 1983, to be enjoyed during the holidays; a gift for music lovers and a celebration of Italianness. You can’t help but dance and sing to the rhythm of music, a characteristic that unites two such fundamental aspects of Italian culture.

Merry Christmas on the highway!

After a terrific first release by AlleyOP aka Atree & Hagel, Tutto Bene welcomes Christopher Lawrenz for the imprint's second release. "Double Tree EP" features three original works by Christopher and a remix by seasoned veterans and Berlin underground sound wizards Foehn & Jerome. The result is a package of funk-infused dancefloor-ready tunes that nicely follow up Tutto Bene's debut while further expanding its vision.

Double Tree EP kicks off with "Double Tree" (A1), a minimal, groove-focused track laced with dub elements and a quirky tech-house edge. Shifting basslines, off-kilter percussion, and playful vocal samples create a lively vibe, perfect for peak-hour energy. Foehn & Jerome’s remix (A2) reimagines the track as a deep house groover, with smooth, sophisticated melodies layered over an understated bassline, adding both depth and elegance. On the B-side, "Tutto Bene" (B1) delves into more experimental territory with syncopated rhythms and robotic textures, combining off-beat percussion and modulated sounds for a distinctive, driving rhythm. "Quarantäne" B2 rounds off the EP with its warm, organic feel, layering deep melodies and gentle vocal samples for a lush, deeply hypnotic track perfectly suited for the early morning sets.

With Double Tree EP, Christopher Lawrenz showcases his versatility as a producer, delivering a set of tracks that range from peak-hour energy to chilled, introspective vibes. Tutto Bene's second release reaffirms its commitment to fresh, underground sounds.

LRK Records is excited to announce their next special limited edition 45 by Bella Brown & The Jealous Lovers. Due to high demand from DJs and fans alike, we're bringing the in-demand 'Soul Clap' (Radio Edit) to 7". The most streamed track from their album of the same name, this radio edit condenses the energy of the original, which runs over 7 minutes, into an electrifying 3 minutes and 54 seconds. The A-side will be revealed soon, with a special track announcement coming in the next few weeks.

Bella Brown & The Jealous Lovers, originally from Chicago and now based in Los Angeles, are known for their dynamic fusion of 60s/70s soul and funk. Fronted by the Grammy Award-winning Bella Brown, who embodies the power of Tina Turner and Sharon Jones, they channel the fierce spirit of 70s Blaxploitation icons. Backed by The Jealous Lovers, they offer a fresh, modern twist on traditional soul and funk with high-energy live performances.

'Soul Clap' is a dance floor-ready track with Bohannon-style rhythms and James Brown-inspired funk. It's a celebration of the communal energy shared between musicians and audience, perfect for DJs looking to bring the party to life

The new single, "Always Christmas Eve" is an instant holiday classic. The song pays tribute to the band's Chicago soul roots and is produced in their signature style. This original composition offers a modern take on classic soul, featuring real instruments, genuine performances, and authentic artistry. True to the tradition of Bella Brown & The Jealous Lovers, the song carries a meaningful message: "Always Christmas Eve" shares a hopeful message of Christmas joy in an imperfect world, highlighting the goodness in all of us, and reminding us that we can embody the loving spirit of Christmas in any season, even during challenging times.

"Always Christmas Eve" drops digitally November 15, 2024 and will also be released, through LRK Records, as a special edition 7' colored vinyl 45. The 45's B-side features the group's "Soul Clap - radio edit". A funky dance track, which was digitally released as a preview to their Soul Clap LP, and is now making its vinyl debut. The radio edit has already racked up tens of thousands of streams and received extensive airplay across Europe, North America, South America, and Japan.

So Happy Holidays from LRK Records and Bella Brown & The Jealous Lovers!!

Grey/silver coloured vinyl 45

Rance Allen churned that rhythm smack between gospel music and soul. Rance brought the fire, his every performance a dedicated reach beyond expectations. It's like he lived in a realm above ours, and his performances were a ladder from our plane to his, an invitation to step up, step out, be good, do right, dance while doing it, jive and smile. And praise the Lord.
Rance sang about Jesus Christ, even when he didn't mention him. His music was an invitation to groove along, but it was also a stepping stone to church. He focused not on the fire and brimstone but on building community, helping those in need, a church of embrace.
His two brothers were his band, along with Stax guests. On "Everybody's Talkin'" you can hear disco coming around the corner and also the influence of Isaac Hayes. "You Need A Friend Like Mine" builds on the Staple Singers' "If You're Ready (Come Go With Me)", and it features some of Rance's finest falsetto, up there with Rev. Claude Jeter and Al Green.
Rance moves your spirit.

Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band’s earliest material. As originary Aussie industrial legends - although founder Tom Ellard would balk at being branded as such - Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads “to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.” Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads’ copies perishing in a fire at Richard’s home. The band’s next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten’s second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!

Die Musik ist tief in der DNA der Buddha-Bar verwurzelt und hat schon immer eine Schlüsselrolle in unserem Universum gespielt. Unsere musikalische Handschrift, die 1996 in Paris entstand, spiegelt die traumhafte Atmosphäre unserer Restaurants perfekt wider. Subtile und hypnotisierende Mixe, eine perfekte Mischung aus mystischen House- und elektronischen Rhythmen mit afrikanischen, asiatischen, indischen, lateinamerikanischen oder orientalischen Klängen... Buddha-Bar Music verbreitet seit 1996 seine guten Vibes in der ganzen Welt. Dieses dreifache Best Of zeichnet unsere Geschichte von 2014 bis 2024 nach und versammelt von Ravin sorgfältig ausgewählte Titel und Künstler, darunter Buscemi, Sahalé, Desert Dwellers, Kenneth Bager, Ali Kuru, Santi & Tugçe, El Bùho, Troels Hammer, ...

Produced by Nicolas Duvoisin on his label, this new vinyl-only edition may not leave your turntables for a while. On the A-Side "Fused (Original Mix)" is a perfect combination of loud beats, a heavy bass line and repetitive sounds, and when NTFO tackles the remix it's to bring its melodic touch.

On the B-side, "Stickers Men (Original Mix)" speeds up the BPM with a catchy rhythm while Nima Gorji delivers a more tortured remix of this track.

EARLY SUPPORT : Nu Zau - NTFO - Primarie - Cesar vs Disorder - Brizman - Floog - Jay Bliss - Johnny D - Christian Burkardt - Lauhaus - Cosmjn - Chris Wood - Octave - Brizman - Ikako - Giorgio Maulini - Kid Moss - Guedes - Nils Hess and more

Review: Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.

Mannequin Records is proud to present the official reissue of Caroline K's outstanding 1987 album, "Now Wait For Last Year."



This haunting, wistful work of post-industrial synthesizer music sees the late Nocturnal Emissions co-founder only solo record, which has accrued a fervent cult following over the past 40 years, and copies of the original pressing are today extremely rare and sought-after.

The music on "Now Wait For Last Year" seems to exist firmly outside of it. Tags like industrial, minimal synth or proto-techno can't really do justice to the richly cinematic sound-world that Caroline K describes: from the sustained ambient tension of sidelong opener "The Happening World" to the future-primitive rhythms and stately piano flourishes "Animal Lattice", and the melancholic, deep-frozen synth sequences of "Cheart".



For fans of Throbbing Gristle, Chris Carter, Nocturnal Emissions and even early Detroit techno lovers should pay special attention to it.



All selections composed, arranged and played by Caroline K

Recorded and produced by Caroline K



Photograph by Jake Kirkwood

Original design by Nigel Ayers



The first five tracks of Now Wait For Last Year were originally released as a vinyl LP by Earthly Delights in 1987

Airtime Records returns with the latest installment of its vinyl-only series, featuring the incredibly talented artist Tommy Chikara and a remix by Just Jam.

The A-side kicks off with "Input", where Tommy Chikara wastes no time unleashing a barrage of garage beats and hypnotic stabs. Layering up rock-solid kicks and steel-sharpened hi-hats, he creates an energetic rave-up that will leave you breathless. Next up, "Output" takes the intensity to another level with its electrifying exploration of sound, captivating listeners with its irresistible groove and infectious bassline.

Flipping over to the B-side, Chikara presents "Make The Thing", a testament to his unparalleled creativity and innovation. With its dreamy melodies and energetic rhythm, this track is to set the tone in the late night scenes. To top of the release, Just Jam delivers a stunning remix of "Input", adding depth and complexity to the original track while retaining its essence.

These tracks have already left an indelible mark on dancefloors around the world, with support from artists like Chris Stussy and Enzo Siragusa.

Limited run, Vinyl Only.

We are delighted to present our first Split Series and to welcome three notable artists to the label.

FDEZ takes charge of the A side with three dancefloor tunes fresh from Barcelona.

A1/ ABSTRACT FUNK is an Electro House track with arpeggio synths and classic hi-hats following a fat bassline.
A2/ SUN FIGHT is inspired by a hot summer's day in the summer of 22. Including a vocal sampler from another planet and 303 notes.
A3/ RAVAL NOCHE is flush with hypnotic and spooky synths, making for an after friendly house track.

Two french producers who require no introduction, Chris Carrier and Le Loup, aka AV1 put thier mark on the B side.

B1/ MYSTIC POINT is a powerful track with mysterious melodies and a forceful rhythm, right at home in an underground warehouse.
B2/ TROPICAL EXCURSION is a hypnotic voyage inspired by the golden age of trance. Ideal company during an endless after.

Only 200 copies

4 great minimal tracks. A couple of Cumpas are brought together by showing their character within the music. Etro Hahn & Liro have been producers for years delivering different nuances and rhythms within the world of electronic music. Between 2010 and 2011 they released their first EP together which, was titled: “Nortesur EP- for an Irish label “Elevation Recordings” together with Chris Lattner + Rampa & Re.you.

Since, they have delivered multiple EPs (vinyl and digital) and have been able to interpret the evolution of electronic music with dynamic projects, managing to combine the necessary sound they seek. We present a story that began with the discovery of ethical and electronic sounds, managing to guide these works to the memory of a town that changed in southern Chile. Zbroyi is proud to bring forth a journey from these Chilenos.