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Premium funk, jazz and breakbeats - rare original 1995 LPs !! act now!

already played by Ricardo Villalobos, Luciano, Nick Curly, Reboot, Onur Özer, Karotte, Marco Carola, Chris Tietjen, Raresh, Pete Tong, Robert Dietz, Markus Fix, Loco Dice, Mathias Kaden, 2000 and one, Cassy, Shinedoe, ...

Irish drone-doom-folk act One Leg One Eye, the project of founding Lankum member Ian Lynch and veteran noise monger George Brennan, announce their new album, CRONE, out on 1 May on AD 93.

Today the group share the first track on the album, ‘Many are my Names Besides’, on which they are joined by the elemental force that is legendary actor, performer, writer and director Olwen Fouéré (Operating Theatre) contributing vocals.

Olwen Fouéré comments:

“When Ian and George first approached me to work with them, they were already creating the Crone album as a sonic invocation of the ‘sovereignty goddess’, who personifies the land and the legitimacy to rule it, in her darkest and most terrifying form. As we spoke, the triple goddess figure of the Morrigan entered my mind, reinforced by a marked presence of crows every time we met. The Morrigan is essentially a war goddess, frequently appearing as a crow in a battlefield, a death prophet, a guardian of sovereignty, and a very powerful figure in Irish Mythology.

So I invoked her energy as a starting point, using text extracts that Ian sent me from the Ulster Cycle and other sources. The voice recording was done in one day, improvising the source material while the already composed music occupied my psyche through headphones.

Listening back, at this time in our world, I can only wonder at how much blood and war the Crone/ Crow of sovereignty is preparing to unleash now. Watch out.”

CRONE is the second album from Lynch and Brennan, following on from 2022’s slowburn slab of ambient grit, …And Take The Black Worm With Me. Bewildering, psychedelic and ultimately transcendental, the four tracks of One Leg One Eye’s CRONE shapeshift and morph endlessly in a coarse miasma. Traditional song structures and vocal melody are eschewed, instead the trio directly channel energies from the rich seams of mythological significance submerged below the Irish psyche. The anger, rage and beauty of the sovereignty goddess burn a consistent and deliberate line through the album in the form of obscure incantations and dire pronouncements, the gnarled sinews that bind it all together.

Just as the subject matter of the tracks delve deeper into Irish myth and the remote past, the temporal reality of the album reaches back into the bands prehistory, with the majority of it the material being recorded by Lynch and Brennan in 2021 before One Leg One Eye was conceived of as an entity with Brennan working on the CRONE project while Lynch worked on …And Take The Black Worm With Me.

When they were there they saw a lone woman coming to the door of the Hostel, after sunset, and seeking to be let in. As long as a weaver’s beam was each of her two shins, and they were as dark as the back of a stag-beetle. A greyish, wooly mantle she wore. Her lower hair used to reach as far as her knee. Her lips were on one side of her head.

She came and put one of her shoulders against the door-post of the house, casting the evil eye on the king and the youths who surrounded him in the Hostel. He himself addressed her from within.

"Well, O woman," says Conaire, "if thou art a wizard, what seest thou for us?"

"Truly I see for thee," she answers, "that neither fell nor flesh of thine shall escape from the place into which thou hast come, save what birds will bear away in their claws."

"It was not an evil omen we foreboded, O woman," saith he: "it is not thou that always augurs for us. What is thy name, O woman?"

"Calib," she answers.

"That is not much of a name," says Conaire.

"Lo, many are my names besides."

"Which be they?" asks Conaire.

"Easy to say," quoth she. "Samon, Sinand, Seisclend, Sodb, Caill, Coll, Díchóem, Dichiúil, Díthím, Díchuimne, Dichruidne, Dairne, Dáríne, Déruaine, Egem, Agam, Ethamne, Gním, Cluiche, Cethardam, Níth, Némain, Nóennen, Badb, Blosc, Bloár, Huae, óe Aife la Sruth, Mache, Médé, Mod."

On one foot, and holding up one hand, and breathing one breath she sang all that to them from the door of the house.

Part 1. A collection of raw, dystopian machine funk that we love from dynArec.

Part 1. A collection of raw, dystopian machine funk that we love from dynArec.

One of electronic music’s most sought-after names, producer and DJ KETTAMA today announces the release of his long-awaited debut album, Archangel, out 3rd of October. The announcement arrives in tandem with new single “Sort It Out” featuring Clouds, and a landmark moment in his career: his biggest ever London headline show, taking over Brixton Academy on Saturday, October 4th, followed by an expansive tour across Europe, North America, and Australia.



A decade in the making, Archangel is the definitive statement from KETTAMA (Evan Cambell), the Galway-born, London-based artist. The 15-track project is a powerful blend of hard-house energy, trance-inflected euphoria, hip-hop sample-based attitude, and unmistakable emotional depth—sonic signatures that have placed KETTAMA at the cutting edge of contemporary dance music.



The album showcases a curated roster of collaborators who reflect KETTAMA’s reach and relevance across today’s underground and mainstream scenes, including Interplanetary Criminal, Fred again.., Clouds, Prospa, DJ HEARTSTRING, Shady Nasty, SØLV and seantommy. Their contributions amplify the project's scope, offering a multi-sided view into KETTAMA’s musical universe.



Among its early singles, the Interplanetary Criminal collaboration “Yosemite” is a high-velocity anthem marrying speed-garage grit with ecstatic rave melodies, while his track “Air Maxes” with Fred again.. And Shady Nasty blends introspective vocal sampling with wide-eyed club emotion. On “If U Want My Heart” with DJ HEARTSTRING featuring KLP, the ensemble channels high-energy trance, breakbeats, and vocal euphoria into a soaring anthem that fuses emotional intensity with peak-time club energy. Meanwhile, his collaboration with Clouds, released today, “Sort It Out” dives headfirst into industrial-techno territory, conjuring a dark, cathartic energy destined for warehouse euphoria. And reigning as one of the undeniable anthems of the summer so far, “It Get’s Better (Forever Mix)” delivers euphoric waves of uplifting synths and relentless rhythm, bringing an irresistible surge of energy that’s become synonymous with this summer’s club moments.



Archangel has already found a home on the world’s biggest stages and radio airwaves, with early support from key tastemakers including Jack Saunders, Danny Howard, Sarah Story, and Tim Sweeney. Simultaneously, a grassroots groundswell continues to bloom across social platforms—where viral snippets and show footage capture the visceral reaction of a fast-growing, global fanbase.



This year, KETTAMA has elevated his status to a full-blown festival phenomenon, performing at major stages including Coachella, Glastonbury, Creamfields, Portola, Seismic, and ARC Festival, to name a few. In June, he played to 20,000 people in Belfast for a b2b with Chris Stussy—one of the UK’s largest DJ events in recent memory—and is currently mid-way through a 16-week Ibiza residency at Amnesia, playing every Monday night throughout summer. Full list of upcoming live dates can be found below.



Perhaps the clearest signal of his surging popularity is the jaw-dropping response to his upcoming Boiler Room live set, with over 15,000 fans signing up to attend— the set’s release is now highly anticipated as a time capsule moment in a breakout year for the artist.



KETTAMA’s rise to prominence has been anything but conventional. Eschewing the traditional gatekeepers of the industry, KETTAMA cultivated an underground following through the likes of SoundCloud and TikTok, where raw uploads, bootlegs, and viral edits generated a tidal wave of grassroots momentum. Over the years, these platforms became launching pads for a fiercely loyal global community, drawn to his unfiltered energy and boundary-pushing sound. This subversive path to recognition has made him not just a fixture of the scene but a symbol of how new-generation artists can forge success on their own terms.



From his humble roots in the Irish underground to the world stage KETTAMA is now pushing the limits of what a next-gen DJ-producer can achieve. With Archangel, he fuses the sound of his native ‘G-Town’ with a futuristic vision that’s unapologetically global—marking a creative milestone that cements his place among electronic music’s most compelling voices.

Expanding beyond the West Coast with release number three, Goodtunes invites master of the craft Rob Pearson for a dark & moody EP.
Opener “Odd Job Mischief” bends itself over dubbed out low end pressure as echoic LFOs rip through the groove. A2 “Dodgy Brass” doubles down, forcing hazy horns through truncated rhythmic cracks split from beneath its own weight.

On side B, “The Right Speed” is all gas, no breaks. A moody, stripped back weapon with detailed texture & the dark, tripped out aesthetics of Jayson Walker’s murmurs over the top. “Beautifully Mangled” wraps up the EP with a dark minimal groove & lush atmosphere that slowly builds into a warm driving force.

Third time’s certainly the charm on GT003, with Pearson pushing his productions into new territory with meaningful intention.

Hip-hop royalty returns—Bun B and Statik Selektah team up once again for the fourth chapter of their blazing collabo-rative saga: TrillStatik 4. Recorded in real-time with that unmistakable underground urgency, this album is a master-class in modern rap chemistry, blending Bun B’s Southern grit with Statik’s boom-bap precision.

The guest lineup is nothing short of legendary. From DJ Premier setting the tone on “Live From Houston,” to Griselda heavyweights Westside Gunn, Conway The Machine, and Boldy James blessing “Trillselda 2,” every track hits with purpose. Regional flair runs deep, too—Paul Wall, Maxo Kream, and Lil’ Keke represent H-Town with pride, while East Coast lyricists like Termanology and Tek bring bar-for-bar fire.

This is more than a record—it’s a cipher of cultures, connecting street narratives, soul-drenched beats, and coast-to-coast talent.

Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: ‘Outside Over There’, released on Upset The Rhythm (Nov 7th). Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions.
Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen’s basement, and mixed by drummer John Brennan, ‘Outside Over There’ is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written.
The opener, 100%, features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). Olson describes the album in his unmistakable style:
“This eight-track odyssey unfolds like a dreamscape, where whispered incantations brush against the shadowy fringes of the cosmos, and wild, Cézanne-inspired rock anthems erupt like geysers of color in the midst of a western warm and wet rain storm… culminating in the sprawling eleven minute masterpiece, ‘And The Music Shall Untune The Sky,’ aptly dubbed the Earth Crusher. A creation so utterly deconstructed and intertwined with the pulse of nature itself that if AI was called upon to conceive ‘Outside Over There’ anew, it would just spit back, “F.U. in Tree Font”. An enchanting invitation for even the flat-earthers to join the circle, if only just a little.”
EarthBall’s trajectory has been relentless. Their 2024 album ‘It’s Yours’ was praised by The Quietus as “fully aggressive and fully life-affirming,” and by The Wire as "a boisterous mind-melting album”. The band’s live double set LP ‘Actual Earth Music Vol. 1 & 2’ (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. These releases on their own confirm them as one of Canada’s most vital experimental exports, not to mention the impressive self-released discography on their Bandcamp. The band’s reach has stretched far beyond their west coast roots with a UK tour May 2024, plus this past June, EarthBall closed Montreal’s Suoni Per Il Popolo Festival alongside Pulitzer Prize-winning composer Raven Chacon. This November they will perform at Le Guess Who? Festival in Utrecht, with a European tour to follow (tour dates below). Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch.
John Brennan collaborates widely, including recently with Endlings (Raven Chacon and John Dieterich), Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future (with Greg Saunier of Deerhoof), Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of ‘Outside Over There’, the band is joined by their comrade Justin Patterson, who also plays with Brennan in the duo Modale. This cross-pollination fuels EarthBall’s sound - a collective improvisation, psychically overdriven, and grinding into bloom.
Outside Over There’ is more than an album though, it is a ritual, a gathering of sound at the forest’s edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. EarthBall invite you into their circle, to share in the joyful terror of spontaneous creation. ‘Outside Over There’ will be released on November 7th through Upset The Rhythm digitally and as a limited blue-in-black vinyl LP.

Transparentes blaugrünes Vinyl mit O-Card. Oliver Coates' Original-Soundtrack zu Pillion (dt.: Sozius"), einem britisch-irischen Spielfilm von Harry Lighton aus dem Jahr 2025. Der Liebesfilm handelt von einem schüchternen jungen Mann, der sich auf eine unterwürfige SM-Beziehung mit einem älteren Motorradfahrer einlässt.

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

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

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

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

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

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

2026 Repress
A notoriously jaw-dropping folk-funk classic, long treasured by the Balearic fraternity, the self-titled LP from the brothers Batteau nevertheless remains a criminally underheard gem. Appealing to fans stuck on Ned Doheny's scorching blue-eyed soul as well as Gene Clark's rich country-rock, it's an honour to present the first officially licensed vinyl reissue of this undoubted masterpiece of proto-Yacht-Rock.

Like a forgotten piece of baroque folk caught in 1973, Batteaux's eponymous album somehow sounds magically timeless. A full 45 years after the fact, it remains a mystery as to why they weren't better known. The lush production and virtuoso playing conforms with the ruling aesthetic of the time - well-crafted, melodic songs performed with precision and balance - whilst the shimmering AOR atmosphere and sun-dappled vocal washes align neatly with the best Crosby, Stills & Nash records.

Throughout, the beautifully penned tracks hold traces of Jimmie Spheeris, America and Seals & Crofts. The immaculately orchestrated percussion and additional instrumentation (electric piano and fiddle to name a few) are performed by perennially celebrated West-Coast cats including Tom Scott, John Guerin and Andy Newmark.

It's no surprise that the heavenly "High Tide" is such a Balearic touchstone. A free soul aqua-space groover, its sophisticated rhythms predict the swing of CSN's canonical "Dark Star" by a full four years. An alternative measure of its enduring magnificence can be gauged by MF Doom sampling Paul Horn's wonderful version, subsequently used by Ghostface Killah.

The highlights are many and memorable. Gorgeous opener "Tell Her She's Lovely" is the perfect example of the addictive, melody-driven songwriting which really should have earned them stardom. Moody ballad "Living's Worth Loving" is nothing short of heartbreaking whilst the chugging elegance of "Wake Me In The Morning" showcases their bewitching harmonies. The hypnotic yearning of "Lady Of The Lake" is an exquisitely string-drenched, piano-laced favourite that achieves a peculiar strutting-funk. It's that good.

This lovingly curated reissue enables a long overdue reappraisal of the hitherto buried genius of Batteaux. The serene aqua artwork which adorned the original jacket - their father worked on a dolphin-human communication project in Hawaii, hence the infamous design - and sumptuous inner sleeve have been faithfully restored. Whilst, with access to the original tapes, Simon Francis' sensitive mastering elevates the sound throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

■ The latest installment in the popular ocean themed compilation series “SALT... meets ISLAND CAFE”, curated by the beach life magazine/media SALT...,
is DEEP BLUE the series’ first ever ambient music compilation. Centered around the title concept inspired by the deep, tranquil blue of the ocean, the album
presents soothing music tailored to modern lifestyles, spanning chillout, Balearic, meditation, and healing sounds.

■ Ten artists each highly trusted by discerning listeners across the ambient, chillout, Balearic, and surf‑music scenes have created brand‑new, original ambient
tracks inspired by the theme. From pioneers active since the ’90s to cutting‑edge trackmakers, this compilation brings together a stunning collection of
ocean‑themed ambient music.

■ Mastering is handled by ambient/Balearic maestro Calm, who is also featured as one of the contributing artists, delivering an exceptional sonic experience.
Enjoy all ten tracks, each expressing its own unique interpretation of DEEP BLUE.

■ The artwork features an artistic photograph by Pedro Gomes, a Brazil born, Japan based surf photographer, with design by Masato Maekawa (tAnkers inc.),
known for his work across apparel and outdoor brands. Under the supervision of SALT..., the visuals perfectly capture the compilation’s immersive world.


[b] a2. [.que] / deeply

Straight from the backseat of a tinted SUV and into the headphones of every die-hard fan from the West Side to the coast, LUCKI returns with Dr*gs R Bad—a title that’s half-ironic, half-exhausted, and 100% Tune. This isn't a PSA; it’s a high-speed, low-pass filtered look at a life where the designer denim is heavy and the heart is even heavier. Drowning in those signature ethereal, space-trap melodies that sound like a 4:00 AM fever dream, LUCKI trades his usual nonchalance for a raw, "out of luck" transparency that reminds his cult following why he’s the undisputed king of the heartbreak flex. It’s the soundtrack for the late-night drives and the "everything’s a movie" lifestyle where the credits are starting to blur, proving once again that nobody captures the beautiful, nihilistic chaos of the climb quite like Neptune.

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

Guitarist/composer Cole Berliner"s writing, arranging and playing highlights an album of rich-grained, acoustic, west coast parlor music and modern electro-acoustic instrumentals in the challenger tradition of Bert Jansch"s Avocet, Marc Ribot"s Saints and Jim O"Rourke"s Bad Timing. Initially conceived as solo acoustic guitar tunes, Cole"s songs demanded the dynamics of an acoustic ensemble - a departure from his work with Kamikaze Palm Tree and Sharpie Smile. His arrangements form intricate passages for acoustic, electric and lap steel guitars, acoustic/electric bass, piano, drums, percussion, violin, viola, horns, woodwinds and synthesizers; Cole himself is on guitar and lap steel (plus synths and percussion on a few songs), mixing and co-producing alongside Cesar Maria.

Reissued! Transcendence through repetition beamed via an aesthetic vision steeped in mystery: welcome to the world of Newcastle-Upon-Tyne's Smote, an entity opening up uncanny new psychic pathways. `Genog' - the outfit's second release on Rocket Recordings following 2021's eerie transmission `Drommon' - shows that Smote's elliptical casting of bleak magick is only growing more powerful as it gathers momentum. The brainchild of Daniel Foggin, Smote has evolved seemingly of its own volition. "I had the idea for years" he relates, "I love Pärson Sound, Träd, Gräs Och Stenar, Traditional Irish Folk and all sorts of different Drone and Folk music. It was simply finding the opportunity to sit down and get recording. A very heavy influence that affects Smote is fantasy as a genre, and the atmosphere that can be created via story-telling." The musical approach of Smote may have started out as a resolutely DIY one, yet from the humble origins of bedroom and rehearsal room recordings, the band has now become a full-fledged and powerful live band, whose appearances at festivals like Roadburn, Le Guess Who and Brave Exhibitions have already caused a considerable stir.The five vivid extrapolations on Genog conjure differing spiritual realms, yet combine and coalesce to offer one unified vision, building furious momentum in a manner that unites the pastoral with the arcane and otherworldy. Earthy, ritualistic and richly cinematic in aspect, Genog is an avatar guiding the listener to dark and beguiling imaginary landscapes. 2026 bone colour vinyl repress

As a group, Grand Puba, Sadat X, and Lord Jamar fused politically conscious lyrics with jazzy, sample- heavy production rooted in golden age boom bap. Widely praised by critics, \u2000One for All\u2000remains a cornerstone of early '90s East Coast rap. This box set includes the entire track list as 7" singles, including its most celebrated singles: "Brand Nubian," "Feel So Good," "Slow Down," "Wake Up" and "All For One.

Detroit meets the West Coast! DJ Maaco (Detroit in Effect) and Alden Tyrell commanding you to get on the dance floor. Resistance is futile against the Grays...

2023 Repress


Voices From the Lake (consisting of Donato Dozzy and Neel) mark the 10th anniversary of their influential self-titled album with a fully remastered reissue on Spazio Disponibile. It arrives in full on vinyl for the first time, as well as on digital formats, first quarter of 2023 as the pair continues to play select live shows around the world. The release will see the light of day as a 4-set vinyl LP release, including download. Italians Dozzy and Neel have been friends united by a shared vision of music since their teenage years. They are immaculate sculptors of sound who fuse evocative ambient and leftfield techno into multi-layered soundscapes. For many years they worked as established solo artists but came together in 2011 to craft what is now regarded as one of techno's most pure and absorbing listening experiences. It's often said that the best music comes about as a happy accident, and that is certainly true of Voices From the Lake. The career-defining album first arose in the thoughts of Dozzy and Neel when the latter was preparing a mix for the former's wedding and named it Voices From The Lake. It was a pertinent title that stuck in the mind: both grew up by waters around the coast of Italy, and in their early days the pair even held private parties on the shores of a lake. Fittingly, Japan's celebrated Labyrinth festival at that time was also held by a river and a lake in the middle of a forest on a serene mountainside. It was that exact setting the pair envisaged when making music to play live on stage. During preparations, they "accidentally" wrote an entire album. It has only ever been performed live a few times - once at Japan's Labyrinth festival in 2011, at London's Barbican, Barcelona's Mira Festival, Paris' Marathon Festival and once during 2022's Amsterdam Dance Event. Those shows saw the pair using banks of analogue and digital equipment to improvise in the moment and essentially remix the album live on stage. That spontaneity is captured in the original Voices From the Lake recordings and on later LPs such as Live at Maxxi in 2015, and the most recent EP Quarto Freddo from 2020. But the debut album remains a standout achievement. A decade on, it's quiet intensity, musical storytelling and slowly unfolding tension remain in a class of one. Each sound is meticulously designed and placed, and the spaces left behind are just as important in conveying such a captivating mood and emotion. Rather than traditional kick drums, hi-hats or snares, this is music crafted from layers of real-world sound - dripping water, chirping birds, rustling leaves or a distant breeze - and it's that which defines the album's organic allure. From deeply contemplative to cautiously optimistic, pastoral organic scenes to more underwater worlds, Voices From the Lake is a cohesive collection of tracks that add up to one inseparable whole.

2026 Repress

Who's in control? D.I.E.'s in control!

Things To Do E.p is the fourth release of Boiling Pot.
Four Traxx Between House and Acid.
Chopped Samples on A1 and B1.
303 swirlings and Raw Drums on A2 and B2.

Recorded Arranged Mixed
Somewhere On Ligurian West Coast

Repress of one of the best French hardcore from 97 with this meticulously remastered edition.
A all time classic with the iconic West Coast-inspired track, it blends ferocious energy.

Repress

The Men You'll Never See are back once again! Detroit In Effect's classic Unseen EP updated for 2019. Includes the Detroit Electrotechno anthem "R U Married".

2026 Repress

Inner City Sound Archives is the work of a small crew of obsessive DJs, diggers, and archivists. For years, they hunted lost reels — digging through basements, flea markets, forgotten storage rooms — until they uncovered a batch of mysterious acetate tapes. No credits, no labels. Just cryptic handwriting and the hiss of time. What they found were raw, extended disco cuts — played once or twice at underground NYC loft parties in the late '70s, passed hand to hand among a tight circle of selectors, then lost to history. Now, after painstaking transfers and full analog remastering, these tracks are back. Unpolished, hypnotic, physical. Restored with love. Cut loud. Pressed right. For our debut release: six unreleased NYC disco bombs, presented in their original long versions across Sides A & B. Once championed behind closed doors by the likes of Larry Levan, Francis Grasso, Steve D’Acquisto, Walter Gibbons, and Richie Kaczor.

Detroit meets the West Coast! DJ Maaco (Detroit in Effect) and Alden Tyrell moving people the old way, part 2. Resistance is futile against the Grays...

DJ DUCH's debut EP is a sonic time machine that transports listeners straight into the Y2K aesthetic, celebrating the unique optimism and rawness of the turn of the millennium. The Wroc?aw-based digger, publisher, and producer- the era's sound by building the entire production foundation exclusively on samples from Polish tracks of that time, giving the release a distinct local flavor. In doing so, DJ DUCH proves that domestic recordings from the late 90s and early 2000s still possess immense potential to fuel modern dancefloors.
The project is rounded out by a broad and surprising list of guests whose vocals add a multi-dimensional character to the whole. The EP features appearances by Renata Lewandowska, rapper Eldo, Cezary Ostrowski (known as Bexa Lala), as well as Nath and Kacha from the duo Coals.

What better way to celebrate 100 releases than with a handmade box containing soul expanding music!? Höga Nord Rekords have reached an important goal and releases a rare box set containing all 12” from the HNRUK-series plus a new record from Birds, unique for this box. Except Birds, this compilation includes Dark Strands, High Boys, Vox Low, Timothy J. Fairplay, Fontän, Bird Of Paradise, Mythologen, Jamie Paton and Frak.

The music is of course the main focus of all releases on Höga Nord Rekords but what birthday gift comes without a proper wrapping? This exclusive handmade box made in Norrmalms kartongfabrik in Stockholm, is a celebration to the Scandinavian Bronze age. You’ll find rock carvings like those on the artwork scattered over the land but mostly near Gothenburg, home of Höga Nord Rekords on the Swedish west coast.

Archaeological evidence proves similarities in ornaments and pictures between the Nordic and European Bronze age, just like you find common features in the music released on our label. Though the acts in this compilation box come from all over Europe and beyond, they stem from an obscured and mysterious common source of escapism, purity and creativity.

A mutant beat manifesto from Miami luminaries Jonathan Trujillo (Jonny from Space) and Pablo Arrangoiz (El Gusano, DJ Fitness, Baüzer Vep), Crespi Drum Syndicate’s Colada Talk follows the duo’s debut on Sonido Isla with a freshly freaked collection of percussive oddities. Rooted in foundational clave rhythms and avant-garde experimentation, Crespi Drum Syndicate emerges from the amphibious underbelly of Miami’s Latin-infused club scene with their singular electro-acoustic vision.

Extensive live recording sessions, free improvisation, and a ritualistic studio practice

— countless hours spent twisting and rearranging sounds from found objects and Buchla modular systems — coalesce into new rhythmic forms. Atonal saxophone, bass clarinet, and slide whistle further expand upon Trujillo and Arrangoiz’s ever-evolving sonic palette, while NYC’s AceMo lends a hand on the heavily syncopated “Siu,” and closer “Boubow” might be the duo’s most hook-driven production to date with its mangled pop vocal and lewd drum-line bounce.

Landing somewhere between Steve Reich’s polyrhythmic “Six Marimbas,” Moebius & Plank’s industrial Krautrock sessions, and Ricardo Villalobos’ hypnotic techno minimalism, Colada Talk delivers on a world of subtropical rhythmic futurism and experimental body music that’s as heady as it is culo-shaking.

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

This tune was destined to be the one when Adam and SG Lewis met in Los Angeles in 2023. They hit it off immediately—why wait to collaborate on something when you can use the time in between Coachella weekends to go to a studio in LA together? That’s where „Be The One“ came to life. Refined and road-tested in the months that followed, it’s finally seeing the light of day as a record that thrives on both artists’ mutual penchant for captivating hooks and heartwarming emotional depth.

NYC’s Kanyon debuts his new label “Solitary Works” with an EP paying homage to the old-school. A1-B1: 3 raw, jacking techno tracks relay Kanyon’s vision of classic loop techno revival. On B2, Kanyon flexes his live production madness showcasing an electro track which is sure to convert the non-believers.

Brussels-based Maloca presents Paradise Mountain, the new EP from Katatonic Silentio, DJ and production moniker of Italian sound artist Mariachiara Troianiello. Positioned in counterpoint to her darker,
more visceral work, the record delicately folds Detroit electro and techno drum structures into a softened New Age glow, generating environments that breathe, shimmer, and slowly coalesce.

Across the EP, tracks unfold gently, rife with wet modular tones, chromatic arpeggiations, and light-touch percussion which drifts in and out of focus, blurring the line between dancefloor function and inward-facing sound art. Paradise Mountain ultimately traces a slow ascent through luminous, carefully crafted terrain - quietly joyful and deeply hypnotic in its approach.

XPRESS Singles Vol.2 is here, and its a certified dance floor weapon. Here at TDE we're stoked to welcome back mystery London duo Dirty Supercar with a brand new cut, Nothing But The Music.

Powered by the deep, soulful vocal of Elliot Chapman, it’s a direct call to the floor. Lush, emotive strings glide over choppy 70s guitar licks, all driven by a throbbing house kick and bouncing bassline combination that hits with precision. It’s a confident, fully-formed house record that speaks to both classic and contemporary sensibilities.

On remix duties, Italian house music heavyweight Angelo Ferreri steps in with a fresh rework that’s already slamming our worldwide parties. A consistent force in the global house scene for over a decade, Ferreri’s catalogue spans chart-topping releases, millions of streams, and support from the scene’s most respected selectors. Regularly ranking among Beatport’s top-selling artists, his signature blend of groove-led, feel-good house is unmistakable. Here he delivers a version that’s primed for peak-time impact. Tested, refined, and truly defined house heat.

Fesh off strong support from Purple Disco Machine, DE SOFFER returns to TDE in fine form. The nu-disco specialist delivers two standout remixes, reworking 20 Buck Funk by Bustin’ Loose and Hot by La Felix. The latter was one of our label’s biggest records of 2025 and gets a slick extended treatment. Meanwhile, 20 Buck Funk is reimagined with a sharp, modern nu-disco edge. Both featuring West Coast's Relaye on the rap, these're both tight, energetic, and fiery Nu Disco bangers ready to cause club carnage.

A seriously strong vinyl package from front to back. Pressed on a limited run of 300, this is one for the collectors and the selectors alike.

Dudu Tassa, einer der führenden Rockstars Israels, ist der Enkel des kuwaitischen Musikers Daoud Al
Kuwaiti. Dessen musikalische Zusammenarbeit mit seinem Bruder Saleh als Al Kuwaiti Brothers erlangte
zwischen den 1930er und 1950er Jahren in der arabischen Welt Berühmtheit. Dudu Tassa und die Kuwaitis
eröffneten vor einigen Jahren das Coachella-Festival und wurden von Radiohead als Vorband für eine ihrer
US-Tourneen ausgewählt. Die Al Kuwaiti Brothers zählten in der ersten Hälfte des 20. Jahrhunderts zu
den bedeutendsten Komponisten und Musikern Bagdads. Dudu Tassa hat einige der Aufnahmen der Al
Kuwaitis aufgegriffen, weiterentwickelt und zu seinem eigenen Sound modernisiert. „El Hajar“ erschien
ursprünglich 2019. Diese Version ist eine Wiederveröffentlichung im Stil ihres selbstbetitelten Albums und
von „Ala Shawati“ und enthält eine komplett neu interpretierte Version von „El Hajar“.

Am 29. Juli 1962 wehte ein kräftiger Wind durch das Lighthouse in Hermosa Beach, Kalifornien, als
Tenorsaxofonist Curtis Amy mit einem Sextett aus West-Coast-Musikern in dem legendären Jazzclub auftrat, um dort das Live-Album “Tippin’ On Through“ für Pacific Jazz aufzunehmen. Stilistisch bewegt sich
Curtis Amy hier in drei Eigenkompositionen durch funkigen Hard Bop und Soul-Jazz, interpretiert aber
auch einen Jazzklassiker der Gershwin-Brüder sowie Stücke von Benny Golson und Dave Brubeck. Neben
dem Tenorsaxofonisten glänzte bei dem Konzert vor allem der junge Vibrafonist Roy Ayers, für den dies
eine seiner ersten Aufnahmen war

Shape of the Moon is the California based duo of Benjamin Burke and Bear Glass that explores existential headspaces beyond mundane frames of thought. Following streams of consciousness that contemplate the stardust that forms us to the very first human sound that reverberated through a cave, Shape of the Moon intertwines language and music into ambient dream-weaving narratives.

When the land is laid bare forms a collection of recordings composed of Burke reciting his introspective poems and Glass improvising gripping modular synth and string patterns. Burke brings a wealth of experience working between an impressively vast range of written and visual mediums to Glass’s live electronics and acoustic instrumentation mirroring the spoken word. The pieces on the album consist of excerpts from live outdoor performances under the night sky in the Mojave desert as well as sessions in Glass’s off-grid solar powered studio. Burke drapes vivid vocal narration over deeply immersive textures and melodies conjured up by Glass on Buchla, bass and sitar, painting peaks and valleys that live score the storytelling. The duo tread their own path fusing poetry with undulating electroacoustic instrumentals, arriving at meditative and ASMR territories that draw inspiration from ambient and electronica. Often joined on stage by guest musicians playing anything from Rhodes, percussion, jaw harp and saxophone, the recordings edge towards blues and spiritual jazz.

Benjamin Burke is a poet, writer, performer, and visual artist who spends his time lending a hand to unusual artistic expeditions around the world. Most recently, he helped to launch Dhun and Dhun School, a humanist eco-township and progressive education center on a 500 acre biopreserve in Rajasthan, India. He has written and performed countless unusual shows, experimenting widely and, through that, witnessing firsthand what makes ideas resonate for his audiences. This work evolved over time into an approach he refers to as Applied Poetics which he employs to help communities set intentions, scientists present their findings, and humanitarian organizations find their footing.

Bear Glass is a sound artist, multi-instrumentalist, music teacher, live sound engineer, and founding member of Mobius Acoustics who build innovative sound systems and host events on the West Coast (utilizing a quadraphonic setup for live performances and immersive drone bath sessions). Glass is involved in various collaborative projects with a couple of releases under different pseudonyms as well as a solo tape featuring a track with prolific producer Carlos Niño. For most of the year, Glass lives sustainably off-grid with his family on a plot of land outside Joshua Tree, a mini utopia infamous for his well curated private campouts and artist residencies. Wide skies, magnificent climates, and being surrounded by the love of family and friends inform Bear’s musical output and artistic practice.

Shape of the Moon present their debut album for Marionette’s 30th title, channeling an inquisitive yet playful state of mind that marvels at the mysteries of the universe.

Bassmæssage is the oldest and most consistent bass night in Leipzig Germoany, pushing local soundsystem culture and grass roots artivism. We are about to welcome a fresh release "for all who like it low and want it vibrant"!

After two installments of bass-heavy multi-genre various-BPM grooves on Volume One in 2015 and on Second Drop in 2023 here comes the full triplet in this line of bass music vinyl compilations featuring acts who have been mÊssaging our nights. This time on Threenity, one side side is running garagewise 130, flipped by a more dubsteppish 140 area, all drowning in dark sinister midranges, mindful drum programmings and heavy-weight lows for huge speakers, to be released around 9th May 2026 on a 2 floor DIY soundsystem night in Connewitz!

Opening with genre wizzard LUI from Leipzig, showing how dirty and fonkey a garage bit can actually go. Bricks of beats on a fundament of nasty bass concrete, roofed by a vast selection of uplifting samples are vibing for sure.
Trainsient is the deep bass moniker of Leipzig's Plastiks running DDNBC, delivering a heavy tribal statement of a lost place of a deep grime, overgrown with flutey leaves and dreamy synth lianes hiding da moddership.
Psionide from Dresden with estonian roots is celebrating a vinyl debut with a slow-jungle dream-breaks bit between retro and future, braindance and dance, listening and bassline coaster.
Son du Maquis outa Toulouse sneaks in low in a classic dubstep manner, only to drop the lowest wobble possible right throughout the ride.
Miles Won transmitting from Plugwhiz, nails headnodding with his beat writing skills. Where bass meets hip hop, the grass has never been greener.
Finally, veteran like Dub Across Borders cabling from Copenhagen is delivering the contemplating outro: a melancholic 140 halftime not only to send you home but right into the night sky.

These six peaces are found on a heavy cut vinyl, ready to shake your system. As bonus there is another papercraft Basstelbogen cover, which lets you build your own BM logo and a 1:3 ratio record player on top. Mach's mit, mach's nach, mach's b‰sser!