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Internal Battle sees Indra MC and Jman united over the riddim, each bringing their own unmistakable lyrical fire to the table. This is a heavyweight steppa built for the soundsystem!

Opening with an epic, cinematic intro that builds tension bar by bar before dropping into a thunderous steppa style and pattern. Deep subs, militant drums, and razor sharp flows collide as both vocalists dive into both the chaos and clarity of the mind’s internal war.

Internal Battle captures that raw clash between doubt and determination, shadow and strength. Crafted for late night sessions, stacked speaker boxes, and conscious crowds, this one hits with purpose and power.

The new Mantra record is out !

With a long tribal Acid Industrial weapon by IND ! A new vibe is born.

The flip brings a bloody Cult Collective hit combo tune !

Enjoy !

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

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

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

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

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

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

‘Since the 16th century, the Ecuadorian province of Esmeraldas has been home to a unique Afro-Indigenous culture originating in the integration of the Indigenous Chachi and Nigua peoples with African Maroon communities. Juyungo documents significant Esmeraldan artists and bands playing the Afro-Ecuadorian folklore of the province, as well as including some older field recordings. Based mostly on the marimba, whose origins lie partly in the African balafon, partly in Indigenous percussion instruments, the music is laced with call and response chants, ambient insect and bird noise, the filigree finger-styles of the Andean guitar tradition and the panpipes of the mountains. This is resonant insider roots music at its headiest — the mystic revelation of Esmeraldas, gully deep and lustral.’
- Francis Gooding, The Wire.


The fifth in our series of LPs compiling classic music from Ecuador. Customary Honest Jons runnings: a beautiful gatefold sleeve; superior pressing, with vivid, intimate sound; full-size, sixteen-page booklet, in colour throughout, with detailed, fascinating, bi-lingual notes, and stunning photographs.

The music is transfixing, magical; not like anything else. From start to finish, this album is continuously, profoundly immersive; a kind of journeying, trippy meditation about slavery and cultural resistance, identity and mix, places and spaces, futures and pasts. It’s inscrutable to net-surfing, algorithms, Shuffle. But for a taste try the insurgent marimba roller Agua Largo, jet-propelled by Rosa Huila’s rapturous blend of African spiritualist and Christian chant. ‘Healing music,’ Zakia called it on Gilles Peterson’s BBC show recently. And the ravishing pasillo Kasilla Shungulla — ‘calm your heart’ in the Quichua language — a duet between the Peruvian master-guitarist Raúl García Zárate and viola da gamba by Juan Luis Restrepo from Medellin, recorded in a baroque church in Buzbanza, Colombia.

'Matsuli Music is proud to announce the first vinyl reissue of Philip Tabane’s Sangoma ("Spiritual Healer") since its 1978 release. Remastered from the original tapes with lacquers cut by Frank Merrit and pressed on 180g heavyweight vinyl at Pallas in Germany, this definitive edition re-asserts the power of one of South Africa’s landmark recordings. Featuring new liner notes by cultural critic Kwanele Sosibo and artwork restoration by Siemon Allen, Sangoma returns in full force through an extended Malombo line-up, fronted by Tabane's spellbinding guitar - ancestral, timeless, and unbound.
'Philip Tabane (1934–2018), the mercurial guitar genius of South African music, forged a sound that was as rooted in the spirit world as it was in daily life. With the Malombo Jazzmen of the 1960s, Tabane disrupted Western notions of “jazz,” bringing the resonant rhythm of cowhide malombo drums into the foreground. While outsiders and the uninitiated often reached for labels like “primitive yet sophisticated,” Tabane and his collaborators named it more truthfully: “music of the spirit.”
'By the time of Sangoma, Tabane stood at a crossroads. Fresh from a period of three years’ touring in the United States where he graced the Newport Jazz Festival, and played alongside Miles Davis, Herbie Hancock, Pharoah Sanders and others, he brushed off comparisons with characteristic self-assurance: “No, I don’t play like Miles. Miles plays like me.” Back home in South Africa, and with a newly signed international distribution deal with WEA Records, he harnessed this momentum into a larger band setting, capturing a rare intensity.
'The result was Sangoma—an album that bridges contradictions: expansive yet intimate, celebratory yet haunted by exile and return. Tracks such as “Sangoma,” “Hi Congo,” and “Keya Bereka” are not simply performances but living testaments, songs that would remain in his repertoire for decades. Unlike the moody, immersive character of much of his work, here Tabane is on the move—urgent, restless, uncontainable. As he announces on the second track, “Maskanta wa tsamaya” (“something that kicks ass”).
More than four decades on, Sangoma is both an historical document and a timeless invocation. From his home in Mamelodi to the world and back again, Tabane’s spiritual healing endures—raw, electric, and unbowed.'

"I got to know visual artist, musician, and producer Guido Erfen and sound engineer, acoustic artist, and percussionist Michael Springer as part of a group of five by the name of SHM1. The members of the group organised concerts at Rhenania, a disused grain silo, where I performed with The Absurd in 1988 and 1989. The band was also featured on one of Erfen's tape releases. Erfen and Springer met when they were still at the same secondary school and soon became close friends and musical allies. With the other members of SHM they built an independent network for creating and distributing music beyond the mainstream in Cologne. Rent at Rhenania was incredibly low, allowing a recording studio to be established there.

The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.

In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.

On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!

It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.

Ruff Kutz presents 'Found Sound', a debut solo album by Pugilist.

At a time where art has become readily reproduced and seemingly disposable, I have made something longer-form to be enjoyed as a complete piece, rather than it's single elements.

Found Sound delves into my internal monologue, which I hope results in a personal and introspective listening experience. Building on my previous discography - you can expect versatile sounds and tempos, with a washy dub-wise feel, intoxicating atmospherics, all in a genre-free structure. The album is floaty, euphoric and perhaps a surprisingly light listen compared to my normal output, but with notably huge bass and intricate percussion throughout.

The album taps into nostalgic reference points without leaning on retrograde tropes. While sculpted by contemporary production and FX, the sound remains raw and not overly polished. The album is best described as a collage of sounds that I have steadily collected over the last decade, which have inspired me, some very cheeky sampling and many a late night working on my studio tan. It is a tribute to the music I grew up with and love the most, from past to the present. It is fitting that this release marks the 10 years since I started the Pugilist alias.

This wouldn't have been possible without Umeya, who the album is dedicated to.

Up Ya Archives returns with its first release of 2026, ‘Northern Step’, from Manchester-based jungle producer & DJ Worsleyy. The track arrives ahead of his upcoming EP of the same name slated for a 13th March release via Up Ya Archives Records.

Fuelled by crisp, tightly swung drums and a smooth, rolling bassline, ‘Northern Step’ is a salute to its junglist roots. Drawing from the Manchester rave records he was introduced to by his dad, and with the help of legendary Mancunion music mixologist Chimpo, Worsleyy channels those early warehouse energies and pairs them with his own progressive and futuristic lens. It’s heritage and evolution colliding, rooted, forward-thinking and built for sweat-drenched dance floors.

When speaking about ‘Northern Step’, Worlseyy said:

“Northern Step is a proper nod to the junglist past with the lush floaty vocals, calculated drum choppage, a smooth rolling bassline and Chimpo hopping on to drive forward the sound of the North.”

Worsleyy is a familiar face across the UK circuit, having played sets at The Warehouse Project and supporting Nia Archives on her 2024 UK tour in Manchester. Drawing from UK rave lineage and contemporary club sounds, his productions balance nostalgia with futurism, channelling the energy of Manchester’s acid raves. His tracks have travelled far beyond UK borders, spun by the scenes most forward-thinking tastemakers like DJ SWISHA, Sherelle, Pete Cannon, and Nia Archives on dancefloors around the world. Worsleyy’s rise has been as visible as it is audible — bold, bass-driven, and impossible to ignore.

10 songs from No You - the debut, self-titled LP by Davy Kehoe (Wah Wah Wino, IE) and Diego Herrera (Suzanne Kraft, US). Sharing both vocal and instrumentation duties, D & D venture somewhat off of their respective musical paths - with the collab throwing up a big, small-studio sound. They are maybe at their most melodic on ‘Baby’ where their voices play off each other over bent feedback and crunching drum machine. There’s a real low slung swagger to ‘So Far Gone’ and ‘Miracle Mile’ met with a blown out and blasted approach on songs such as ‘Invisible’ and ‘Side Effect’. The song ‘Put Up A Dream’ exhibits the duo’s more unhinged side.

Indie Stock places itself in a context it adores and defies. Every wall is movable and no accident is an accident. Just as a song is made out to be one thing it reveals itself to have been the other all along. Make no mistake, there is something at the heart of it all, even though its pulse resonates from all directions at once. The listener becomes the toad, gladly boiled in a shimmering liquid until it is too late: The bass kicks in and cant be unheard.

From 2, Amsterdams self-proclaimed troupe of folk mutants, take stock of it all on this record: hushed affect in tumultuous settings, a mole insurrection of epic proportions, the secret workings of pornography platforms and memory. One song might invite to dance, stumble or float, while another is what a ghost should sing. Above all, it is real. Palpably real in a way only the fabrications of true devotees might ever be. What is a consoculator, again?

"Heith and Tarawangsawelas met at the University of Traditional music in Bandung in 2017. Their collaboration has been evolving since then, both in person and remotely. Recording and arranging songs over a long period of time and across a vast geographical distance has lent their practice a distinct character. This distinctive distance allows the possibility to see things from different perspectives and creates music that hovers both in place and out of it. Here, in this music, we are both inside the Sundanese Land, and outside of it, both on the European continent and not. This record carries compositions from one side of the globe to the other, catching spirits and energies from different places, societies and rituals."

Deeply rooted in Japanese culture, Tanoshii Crew returns with an extraordinary new musical connection from Yamato, released through Tanoshii Records. In the summer of ’24, the label made its debut with the City Pop 1994 EP by Rukatama — marking Tama-chan’s very first vinyl release outside Japan. Now, the Italian collective presents something truly distinctive: a carefully curated vinyl compilation celebrating a wide spectrum of musical styles, designed to delight devoted record collectors and adventurous listeners alike — perfectly embodied by the Japanese word Tanoshikatta (“it was fun” / “a joyful experience”).

Following “The Red Pill” and “Suicide Neighborhood”, VHS Horror Tape marks the next chapter in the sonic universe of Dutch synthwave wizard Adam Tristar. The album expands on his signature sound with darker tones, gritty analog textures, and a strong cinematic horror influence, evoking late-night VHS aesthetics, neon-lit nightmares, and retro-futuristic suspense. It’s a haunting journey that blends nostalgia with menace, pushing his synthwave style into deeper, more ominous territory. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK viny. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

In just five years, The Spy has gone from underground newcomer to one of the most talked-about names in the European electro and EBM dark electro scene. Early releases on Osáre Editions and Mechatronica quickly placed him on the radar of forward-thinking clubs and selectors across Europe. Now landing on Oráculo Records, he presents his most wave-driven and club-oriented material to date: pure, physical electro built for dark rooms and late hours. Driving basslines and sharp machine rhythms—infused with subtle, classic post-punk tension—define a sound that connects the dancefloor with the shadows, drawing clear parallels to artists like L.F.T, Credit 00 or Gesloten Cirkel. This is music made to move bodies without sacrificing attitude—raw, confrontational, and far removed from formulaic club clichés. Five years in, the message is clear: this is not hype, but momentum—an artist fully in command of a modern electro language built for the underground. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

The origins of Body System date back around 35 years. Dissatisfied with previous experiences, the project was conceived as a meeting point between Sheffield and Detroit techno and German and Belgian body music. At the time, it never fully developed and remained largely an idea, with only a few sketches recorded on DAT. More than three decades later, that original concept has been revived. Following an invitation to contribute the track In Your Mind to the soundtrack of Electronic Body Movie, directed by Pietro Anton, the project was reopened and reworked, taking shape in the present while remaining rooted in its initial vision. These five tracks reflect an awareness of both past and contemporary electronic music, filtered through an undiminished experimental approach and a conscious refusal to adhere to stylistic conventions or predefined genres. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Auntie Flo delivers two extended versions of Costa Rica based singer-songwriter Doe Paoro. If you liked Auntie Flo's 'Green City', check these...

Doe Paoro approached Brian d’Souza aka Auntie Flo to do a remix for her album 'Living Through Collapse' last year. He loved the parts she sent so much he asked her if he could do two remixes, press onto vinyl and release via A State Of Flo.

We're doing a limited run of 300 copies only, orange vinyl - so buy today if you don't want to miss out.

The tracks... Teach Us Of Endings - a classic balearic groove, gloriously uplifting disco-style strings and complete with Green City-style drum rolls and a killer Ziggy Funk bass line ... just waiting for those strings to come in...bliss

Maya - exotic, deep, hypnotic. Centred around a Ziggy Funk groove with analogue washes and Middle Eastern sounding instrumentation.

A State of Flo supports Earth Percent. 10% of the revenue generated from this release will be paid to environmental charities.

Support from Colleen ‘Cosmo’ Murphy, Luke Una, Dar Disku, Paula Tape, Sean Johnston, Gabriels, Batida etc

Spectral, nostalgic, highly evocative, sometimes-desolate reflections — alone on the piano, and together with saxophonist and flautist Finn Peters — soaked in Satie, Ravel, and Mompou. Expressive and enchanting, but mournfully distracted, with a tentative, exploratory wonderment which reminds you of Paul Klee’s well-worn idea of a drawing as a line taking a walk. Easy to recommend to those of you who recently enjoyed Mashu Hayasaka’s Etudes LP, on All Night Flight. This is lovely stuff from Jesse, in an unexpected departure from his work with Elmore Judd, the Gorillaz, Nyege Nyege Tapes…

The "Phunk Investigation vs. James Senese" collaboration, specifically the track "E'na Bella Jurnata,"

is seen as a high-quality fusion of Italian Disco and funky house, praised for its driving beats,

70s disco melodies, and signature saxiness from the legendary Senese,

making it an instant anthem for clubs and Ibiza.

Reviews highlight it as a grand cru of Italian dance music, blending classic vibes with modern house energy,

a must-have for disco and house lovers.

Bill Converse should be a household name in every head’s abode. He’s been DJing live with 3+ turntables since he was a teenager, always under the same name. Unfathomably envious record collection. Your favorite DJ’s as well as very likely your favorite DJ. Whether it is DJing or a live set, his presentation is head-spinning, hard-edged but hypnotic. His avalanching drum programming is as recognizable as Coltrane’s timbre. His records have been released on Dark Entries, Fit Sound, Texas Recordings Underground, Tabernacle Records, Immortal Sin, Acid Test, Feral Colony and Obsolete Future. Now Fixed Rhythms presents a 2×12” pack of Bill’s characteristically bewildering excellence.

The first 12” has four cuts. Woozy, heavy, bombastic machine workout opener “Stress Test” followed by the tension peaking sustainer “ZoneZone” on the A side. On the B side, “770” brings us to a new place of plucky bass lines and unconventionally tuned drum workouts, with “lure me” closing the first 12” with flexing low-end, percussive stabs syncopated with heavy snaredrum riffing.

Where does this music come from? Although you hear the decades of Midwest techno, jacking Chicago house, brain-tickling Warp Records cuts, and his dizzying skills as a DJ in the brew, his sound is uniquely Bill’s. The second 12” peels back the curtain a bit more, as the C and D side are two extended cuts from his live set at 2024’s Jackie O’Body Vol. 2 in Denton, Texas. We here at the label were at that gig. Pure energy. Sexy distortion. Rhythms that made you scream. After the set, the room erupted in a chant of “BILL! BILL! BILL!”. Dear reader, witness the power of Bill Converse’s raw, overdriven, drummy, jack house tech madness!

The fifteenth release from electro label Gladio Operations once again brings us a multi-artist format, featuring new faces and a distinctly Spanish flavour.

This EP opens with the return of producer Cycloplex, with his characteristic minimalist sound.
This track, titled ‘EP01-A’, once again showcases his powerful and aggressive bass lines.
From Gerona comes one of the new and talented artists on the Spanish electro scene. David Pasajero makes his debut on Gladio Operations with ‘Dislektro’, a fluid journey of melodies and warm textures infused with acidic touches.

On the B-side we find Barcelona producer Dark Vektor, who needs no introduction, as he is one of the Spanish icons of electro sound. This artist also makes his debut on the label with ‘Te Voy A Dar Ahhhhh’, a dizzying track with suspenseful melodies and a powerful bass line that will keep you on the dance floor no matter what.

The Spanish duo Slit Observers is another of the label’s new faces and treats us to this vibrant track titled ‘Green Machine’, where we encounter dark passages with a perfect dose of acid and embellished with subtle vocoders.

The EP closes with a collaboration between German producers Intergalactic Noize Commander and Elektrotechnik, the latter an artist who has released music previously. ‘Informationen’ is a rough track, created in the most hidden German bunkers, featuring arpeggios and robust bass lines that dominate throughout the whole track, accompanied by gloomy vocals.

Italian jazz trio Collettivo Immaginario announces the release of their second full-length album, 'Oltreoceano'.
Known for their slick sound and energetic live performances, their style is firmly rooted in the jazz tradition of collective improvisation, through which they have developed an agile, kaleidoscopic sound. The trio’s unique fusion of funk, jazz, and 70's electronica continues in the trio’s latest release, forging connections across oceans through the universal language of music.

Consisting of founder Tommaso Cappellato on drums and percussion, Nicolò Masetto on electric bass, and Alberto Lincetto on rhodes, piano, and synths, Collettivo Immaginario have become rising stars in the Italian festival scene, from the streets of their hometown in Italy to the diverse audiences in Los Angeles, London and Milan.
Subtly paying homage to genre-bending giants like Azymuth, Lonnie Liston Smith, Herbie Hancock, and Hermeto Pascoal—alongside Italian film music legends Piero Piccioni and Piero Umiliani—their sound moves effortlessly between the heat of the club and the cinematic allure of evocative film scores, infused with touches of spiritual jazz.

We Release JAZZ is very happy to announce the limited vinyl edition of Obad’s powerful new album Suspended, a vivid document of the Tehran ensemble’s endlessly evolving sonic universe — now available as a limited LP housed in a heavyweight sleeve with an Obi strip and featuring original artwork by Iranian painter Sadra Baniasadi.
Suspended is a superbly spontaneous, improvisational blend of exploratory jazz fusion, progressive funk-rock, and transcendental groove. Built from lived experience and shaped by Tehran’s pulse, Obad’s music is kinetic and intuitive — an ever-morphing dialogue between rhythm and texture, emotion and message.
With Farid Farzian Pour on drums, Siavash Karimi on electric guitar, Kiarash Radmehr on bass guitar, and Hamidreza Keshavrpajuh (aka Pajuh) on tenor saxophone, Obad creates a soundworld where hypnotic basslines meet thunderous, free-flowing percussion; where searing guitar motifs coil around saxophone phrases that move from whispered invocation to explosive catharsis. Suspended captures the quartet at full creative stretch: alive, unguarded, and deeply attuned to one another.
Sadra Baniasadi’s striking cover painting mirrors the album’s energy — bold, dreamlike, charged with movement, and extending Obad’s world into the visual realm.
Suspended stands as a major statement from one of Iran’s most compelling contemporary ensembles, marking Obad’s first release on We Release JAZZ and continuing the label’s commitment to boundary-pushing music born from profound listening, place, and collective intuition.

Our next 7” release welcomes young and talented key player Stefano Nardon from Vicenza, Italy.
The record features two jazz-infused broken beat compositions, performed and recorded live, capturing an intimate and organic session feel.
On the A side, “Mangrovia” unfolds as a warm, floating piece built around Fender Rhodes textures, subtle harmonies and a slow-burning groove. A deep and immersive cut, balancing between jazz lounge aesthetics and cinematic mood.
The B side, “Underwater”, was created in collaboration with drummer Stefano Cosi (Padova). His live drum contribution adds movement and depth, giving the track a more dynamic pulse while maintaining the introspective character of the release.

When creative souls collide special things happen. After several collab sessions, Osunlade & James Curd dawned about a style of it own. Something that embodied both midwesterner’s electronic soul approach to house and dance music. After a successful release “Chocolate Puddin’” the collaborations increased and so began Nomadics. With a slew of music the approach starts here. Better Man is a future house classic in our opinion! Starting with the re sang version of the Curtis Mayfield coined, Gladys Knight delivered On and On taken from the Claudine OST. Both parties are set to release the song simultaneously. James on his Pronto imprint with the original version and remixes by the talented Frits Wentink, Too Easy & Mr Ho. While Yoruba will release Osunlade’s Yoruba Soul Mixes. We are hoping to create cross pollinated bridge with these releases. Something for everyone is our aim!

As always your support and taste are a blessing!

RENEGADE METHODZ presents ENACT

5 YEARS RM - MUSIC WITH THE FORCE OF FUTURE

Celebrating five years deep in the trenches of techno resistance, the Greek label presents ENACT, a Various Artists compilation that captures the ethos of Renegade Methodz in its purest form and collects together a carefully selected group of music that embodies the Renegade Methodz philosophy.

2025 Repress

140g vinyl, remastered, double LP with the original LP along with a second record of 14 rare tracks

Sweet And Nice is the vital debut album from Jamaica’s undisputed first lady of song Marica Griffiths. It’s reggae at its most soulful. Slinking through a tight ten tracks of R&B and pop-sourced material, it became an instant best seller. 45 years after its initial release the LP is available again on vinyl, now as a double LP, with an extra record collecting 14 rare tracks.

Sweet And Nice has appeared over the years with a revised running order and under different titles. But the original’s opening sequence of loping soul is legendary, even beyond reggae circles. These songs are now returned to how they were presented on that first Jamaican release, and under their intended album title. Be With doesn’t mess with magic.

Marcia’s version of “Here I Am (Come and Take Me)” has long been lusted after, played by genre-hopping selectors to snapping necks for decades now. It’s followed by the sophisticated, rollicking wah-wah funk of “Everything I Own” and the slice of smooth lovers soul par excellence that is “Green Grasshopper” and her ace, lilting Neil Diamond cover “Play Me”.

The thundering, humid funk of “Children At Play” “sounds uncannily like a precursor of Massive Attack”, as FACT Mag astutely noted when they put Sweet And Nice at number 16 in their list of the 100 best albums of the 1970s. Otherworldly, moody and essential.

Side two keeps the fire burning. “Sweet, Bitter Love” should leave you swooning, and is also one of the album’s alternate titles. Curtis Mayfield’s already-eternal “Gypsy Man” is up next, recast as proto-lovers rock.

“There’s No Me Without You” is elevated to canonical status by the majestic, forlorn horns of the Federal Soul Givers and Marcia’s heartbreaking delivery. And if this doesn’t get you then surely the next track will: arguably the definitive version of Ewan MacColl’s “The First Time Ever I Saw Your Face”. Yes, seriously.

“I Just Don’t Want To Be Lonely” re-takes its rightful place at the end of the LP’s second side… but we couldn’t leave it at that. So we added an entire second record of rare material recorded around the same time as Sweet And Nice, much of it unavailable since it was originally released. Some of these songs have only ever been found on now unattainable 7" singles and no, rarity doesn’t always correspond with quality, but in this case we’re talking about some seriously jaw-dropping music.

Amongst 14 extra tracks you’ll find the exquisite late-60s singles “Melody Life” and “Mark My Word” which, along with the sumptuous reading of “Band Of Gold”, are now £100 records, if you can find them! Just sayin’. There‘s also a fantastic version of “The First Cut Is the Deepest” and an alternate take of “Play Me” with producer Lloyd Charmers adding his own vocals.

Everything’s been remastered of course, including the original LP, so Sweet And Nice now sounds even sweeter, and even nicer.

Doubting all the time. Fearing all the time. Our Darkness descends upon Dark Entries with a reissue of Anne Clark’s epochal proto-house masterpiece from 1984. As a young poet, Clark found herself drawn to London’s emerging punk scene. She became acquainted with Psychic TV affiliate David Harrow, with whom she would collaborate on 1983’s Changing Places and 1984’s Joined Up Writing. “Our Darkness,” off the latter album, was released as a single on Ink Records that same year, and became an underground club hit. It’s a singular piece of music: Clark’s lyrics, delivered with equal parts muscular confidence and unease, speak of urban alienation and heartbreak, while Harrow’s production pummels the listener with hydraulic beats and gloom-laced arpeggios. The song’s spirit would prove influential on both the early Chicago house and Detroit techno scenes, where mechanistic funk and existential despair could catalyse dancefloor mayhem. This reissue offers three versions of “Our Darkness”: the original 12” remix, the Razormaid mix, and a previously unreleased dub version uncovered by David Harrow. Also included is the extended mix of “Sleeper in Metropolis,” another dancefloor hit of Clark’s, as well as the elegiac “Poem for a Nuclear Romance.” The record includes an insert with liner notes and lyrics. “Our Darkness” channels timeless longing and contemporary dismay, a classic overdue for a little light shed upon it.

Mean Field Mutation is a thermodynamic phenomenon occurring just below the vaporization point of voracious growth. It relies on the debris of false and almost forgotten narratives. Astral residue of consumer angst, echoes of obsolete newspeak and oscillations of promotional imbecilities collide with free floating particles hovering under the radar of the megamachine. In steady intervals, this results in a meltdown producing random waves of reconfigurations driven by cryptic but sanguine naivety.
Released on Lustpoderosa, Mean Field Mutation is the first musical output by Des Coda. Written and produced by Piero Scherer during the pandemic winter of 2021 in his bedroom studio in Zurich. Moving between playful
serenity and feral distortion, it was produced by layering sounds from field recordings, radio and TV clips, as wellas sequences from drum machines and analogue synthesizers. Taking a stance against commercial copyright, all stems of this production are available for download free of charge and ready to be reappropriated.
Des Coda is an open field for collaborative, cultural experiments beyond the conventional understanding of authorship and representation. It engages with an artistic position that defines the creative process as an interplay between context and concept. The resulting work is not a rigid product of authoritarian ingenuity, but a sensitive, living organism guided by the tensions between society and individual. Des Coda is the zestful curiosity rummaging through the rubble of the present in search of future aesthetics.

Gatefold Sleeve

M’Bamina – African Roll (1975)
The story of an album born between Africa, Italy, and the nightclub culture of the 1970s
In the heart of 1970s Italy — a country undergoing profound social change and a music scene just beginning to open itself to distant sounds and cultures — an extraordinary, almost improbable story took shape. It is the story of a group of young African musicians who found their way to Europe, of a Turin nightclub that became a crossroads for communities and experimenters, and of an album which, released in small numbers and largely unnoticed at the time, is now considered a rare jewel of Afro-fusion.
The band called themselves M’Bamina — an ensemble of musicians from Congo, Cameroon, and Benin, who arrived in Italy in the early Seventies. Settling between northern Italy and the Pavia area, they began performing in small clubs and community events, bringing with them a vibrant rhythmic heritage: African polyrhythms, call-and-response vocals, funk-infused bass lines, and Caribbean or Afro-Latin colours absorbed along their musical journeys. Their raw, contagious energy on stage quickly drew attention.
Meanwhile, in Turin, another story was unfolding. There was a venue becoming almost legendary: Voom Voom, one of the city’s liveliest nightclubs, run by Ivo Lunardi. The club attracted an eclectic crowd — students, artists, foreigners, night owls — and Lunardi quickly understood that the dancefloor wasn’t just a place for music, but a melting pot for a new kind of cultural energy. Out of this vibrant atmosphere came his idea: to turn the club’s name into a small independent record label, Voom Voom Music, capable of capturing the spirit of those years and giving voice to unconventional projects.

When Lunardi heard M’Bamina, he immediately sensed that this was the sound he had been searching for: fresh, different from anything circulating in Italy at the time, and capable of blending African tradition with funk and European sensibility. He brought them into the studio.
Production was handled by Lunardi along with Christian Carbaza Michel, while the engineering was entrusted to Danilo Pennone, a young sound technician with a sharp, intuitive ear.
The recording sessions — held in Turin in 1975 — produced a remarkably warm and direct sound. The music feels almost live: grooves rooted in African tradition, but open to funk-rock structures and modern arrangements. It is a natural fusion, never forced. Tracks move between tribal rhythms, funk basslines, light electric guitars, congas and Afro-Latin percussion, with call-and-response vocals and melodies that echo both Congolese tradition and the lineage of Latin jazz. Not by chance, one of the album’s most striking tracks, Watchiwara, reinterprets a Latin standard through M’Bamina’s own rhythmic language.

The album was titled African Roll — a name that was already a statement of intention. It is African music that “rolls,” that moves, adapts, transforms within a new geographic and cultural setting. It is not strictly Afrobeat, nor Congolese rumba, nor Western funk: it is a spontaneous, hybrid blend, shaped more by lived experience than by any calculated aesthetic program.
When African Roll was released, the world around it barely noticed. Distribution was limited, and 1970s Italy had yet to develop a cultural framework for receiving such music. The national music press rarely paid attention to African or “world” productions. The album slipped into silence — though the band’s own story did not.

M’Bamina continued performing across Europe and Africa, even sharing a stage in Cameroon with none other than Manu Dibango. By the late Seventies, they moved to Paris, signed with Fiesta/Decca, and recorded a second LP, Experimental (1978). Meanwhile, the peculiar record they had made in Turin began to resurface quietly among vinyl collectors, Afro-funk enthusiasts, and DJs hunting for forgotten grooves.
That is when the album’s fate began to shift.

Over the decades, African Roll emerged as an almost unique document: a snapshot of an intercultural Italy before the word “intercultural” even existed, a fragment of migrant history, a spontaneous experiment in musical fusion born far from major industry circuits but rich in authenticity. Original copies began commanding high prices on the collector’s market, and the album became recognized as one of the hidden classics of European Afro-fusion from the 1970s.
Today, more than fifty years later, this reissue finally restores visibility and dignity to a project that deserves to be heard, studied, and celebrated. It is not simply an album: it is the testimony of a rare cultural encounter, born in an Italy unaware of how fertile such exchanges would one day become.

It is the story of a visionary producer, an extraordinary band, and a fleeting moment in which music, migration, and nightlife came together to create something genuinely new.
African Roll is — now more than ever — the sound of a bridge: between continents, between eras, between cultures. A record that, after rolling far and wide, has finally come home.

Introducing the 4th instalment of the Pacific Coast House rebirth. We bring back another much sought-after 12” from The Coastal Commission & Jesse Outlaw. “Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One”. Long out of reach and fetching $100+ on Discogs, Atjazz’s freshly remastered editions are finally available .. “Let it Go” was never mastered & only ever cut to dub-plate. It has now been mastered & available in all it’s glory.

Coastal Commission “Bring Down the Walls” “Bring down the Walls” was a nod to Raze’s “Break for Love”, Robert Owens “Bring Down the Walls” and Ritchie Hawtin’s use of the Roland 606 throughout “Sheet One.” We gave the tune a Californian psychedelic twist with conga laden drums, a moody synth, low pulsing 303 patterns + Benjamin Zephaniahs patois call to “Move the Body Rhythmwize!” The first PCH releases had dropped Worldwide to International acclaim from DJ’s far and wide across the Globe with support in London, Paris & New York. However the local scene here in L.A that preached “Love, inclusion & Unity” was anything but that. L.A at that time was very tribal & divided up into 3 camps. If you weren’t affiliated with any of them (aka independent) then you were pretty much locked out of getting any kind of gig support or the Dj’s from those camps actually playing the music. The local feedback from Dj’s was that what we were making wasn’t “house,” but “Techno” which was absurd to me. “Bring Down the Walls” was a mantra to “move the bod”y and in doing so “bring down the walls” of separation not just in L.A but throughout society in general. Thank goodness for support from people like Terry Francis, Eddie Richards, DJ Deep & Philly Stalwart King Britt. After years of copies going for upward of $100+ on Discogs the now freshly remastered copies by At Jazz’s Martin Iveson are finally hitting the platters this Spring.

Jesse Outlaw “Let it Go” I met Jesse at Beatnonstop Records on Melrose Ave with Miguel Placencia in the late 90’s. Miguel (RIP) was a mainstay in the Underground scene and had always been very supportive of my endeavors. He had had success with a huge release on Yellow Orange and was working with Jesse under the moniker “When Worlds Collide.” I signed “Brighter Days” & “Set you Free” from them and released the tracks on my Seductive imprint. They told me that they were making the tracks on a Sony Playstation “Music Now” program and I was like FFS “What.s more Underground than that!?” Later Jesse gave me some of his solo work. The track “Let it Go” was never mastered & only ever cut to Dub-plate and featured on my 1st PCH mix “Pacific Coast House Sounds.” It has now been mastered by Martin Iveson and is available in all it’s glory. The dreamy vocal “You need to let it go” beckons over the top of driving percussive Latin beats and church organ which is a great compliment to the flip side of “Bring down the Walls.” All in all two West Coast stompers now finally available remastered on PCH in Orange vinyl.

The Illegal Disco Limited series makes its return with a purple vinyl treat. On the A-side, Monsieur Van Pratt delivers two sure-fire weapons: 'What About Me', a familiar sample flipped for today's dancefloors, and 'Sunset Driver', a killer reconstruction of MJ's rare demo. Flip over for the B-side, opening with a collab between Van Pratt and BoogietraxxAon the viral Japanese gem 'Stay With Me'. BoogietraxxAthen takes control with the funky 'Moving Down the Line' before closing the record in style with 'Pretty Good Feeling'. A must-have for disco and edit heads alike.

The Scythe is a collective of rappers united around commonality in sound and skills as MCs, headed by ringleader Denzel Curry and including familiar collaborators A$AP Ferg, Tia Corine, Bktherula, & Key Nyata. Comprised of its five members and rooted within a budding scene of modern and cross generational hip-hop, The Scythe picks up the banded spirit of Denzel's foundational Raider Klan days while continuing his futuristic takes on old school regional rap (Memphis, Houston, Miami), heard most recently on King of the Mischievous South. Combining Denzel's energetic style with classically gritty, southern sounds, the project centers hip-hop's core across eras, paying homage yet ushering in a rising new guard.



a 1. THE SCYTHE | Denzel Curry Feat. TiaCorine, FERG (II)
b 2. LIT EFFECT | Denzel Curry Feat. Bktherula, LAZER DIM 700
c 3. PHONY | Denzel Curry Feat. Juicy J, Key Nyata, FERG (II)
d 4. MUTT THAT BIH | Denzel Curry Feat. 1900Rugrat, Key Nyata
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] 1. THE SCYTHE | Denzel Curry [Feat. TiaCorine, FERG (II)]
[b] 2. LIT EFFECT | Denzel Curry [Feat. Bktherula, LAZER DIM 700]
[c] 3. PHONY | Denzel Curry [Feat. Juicy J, Key Nyata, FERG (II)]
[d] 4. MUTT THAT BIH | Denzel Curry [Feat. 1900Rugrat, Key Nyata]
[e] 5. HOOPTY | Denzel Curry [Feat. TiaCorine, Smino]
[f] 6. YOU AINT GOTTA LIE | Denzel Curry [Feat. 454, Luh Tyler]
[g] 7. TAN | Denzel Curry [Feat. Bktherula, TiaCorine]
[h] 8. UP | Denzel Curry [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

[a] a1 | THE SCYTHE [Feat. TiaCorine, FERG (II)]
[b] a2 | LIT EFFECT [Feat. Bktherula, LAZER DIM 700]
[c] a3 | PHONY [Feat. Juicy J, Key Nyata, FERG (II)]
[d] a4 | MUTT THAT BIH [Feat. 1900Rugrat, Key Nyata]
[e] b1 | HOOPTY[Feat. TiaCorine, Smino]
[f] b2 | YOU AINT GOTTA LIE [Feat. 454, Luh Tyler]
[g] b3 | TAN [Feat. Bktherula, TiaCorine]
[h] b4 | UP [Feat. Rich The Kid, FERG (II), SadBoi]

On a Sunday in the early 70s in South LA one could asily find themselves experiencing the Pan Afrikan Peoples Arkestra doing what they do for the community, performing incredible music. "Live at Widney High December 26th, 1971" is a previously unreleased PAPA recording. It finds director Horace Tapscott conducting the band at Widney Career Preparatory & Transition Center, a special-education magnet high school in Los Angeles. The band played shows here between 1970 and "72, often sharing the bill with contemporaries John Carter and Bobby Bradford"s group, and at one point the Sun-Ra Arkestra. These weekend shows were free and meant for the surrounding Black community. On this date the PAPA performed a range of compositions from the Ark"s expansive songbook, including arrangements of tunes by Pharoah Sanders and John Coltrane.

Apollo Records proudly present the vinyl reissue of ‘Morning Light’, the acclaimed 1997 album from Mark Van Hoen’s Locust project; a work that blurred the boundaries between ambient electronics, trip-hop, and dream-pop with an emotional precision few have matched since.

Originally issued during the label’s pioneering late-’90s era, ‘Morning Light’ marked a bold evolution for Van Hoen, best known at the time for his dark, abstract ambient work under Locust and as a member of Seefeel. Seeking to create something more human and melodic, Van Hoen assembled a rotating cast of collaborators, including Zoe Niblett, Craig Bethell, Neil Halstead (Slowdive/Mojave 3), and Wendy Roberts, blending fractured dance rhythms, live instrumentation, and intimate vocal performances into something both deeply personal and effortlessly cinematic.

From the haunting reimagining of The Carpenters’ ‘No-One In The World’ to the slow blooming emotional arcs of ‘All Your Own Way,’ ‘Folie’, and ‘The Girl With The Fairytale Dream’, the album’s 13 tracks form a widescreen narrative of melancholy and beauty. Reviewers at the time hailed it as “a subtle delight” and “sheer God-given genius”, comparing its mood and texture to Massive Attack, This Mortal Coil, and Portishead, yet noting its entirely singular voice.

This reissue restores Morning Light to vinyl for the first time in over two decades. A crucial artefact from the fertile intersection of experimental electronica and ethereal pop, ‘Morning Light’ stands today as one of the label’s most quietly influential releases.

DJ Trax returns to Over/Shadow with a new solo EP containing 3 perfectly crafted jungle tracks.

Expertly fusing funk with razor sharp breaks and dark undertones, the Collision EP is a must buy for any seasoned DnB / Jungle head!!!

Knumears sind sich bewusst, dass keine Band in einem Vakuum existiert. Sie sind die Verkörperung einer klanglichen Tradition, die über Jahrzehnte hinweg geprägt und geformt wurde und nur von denen weitergeführt werden kann, die sie wirklich schätzen. Ob man es nun Screamo, Skramz, Post-Hardcore oder anders bezeichnet - es ist ein Sound, der die wechselnden musikalischen Strömungen der Jahre überdauert hat und nun eine ganz neue Generation von Underground-Musikern beeinflusst. Das Debütalbum von Knumears, ,Directions", ist gleichermaßen Liebesbrief und Kartografieprojekt, das die tiefgreifende Geschichte einer komplexen Szene erforscht und gleichzeitig einen spannenden Entwurf für eine neue Szene schafft. Knumears sind nicht nur eine Gruppe leidenschaftlicher Musiker, sondern auch Freunde, deren Bindungen ebenso wichtig sind wie die Musik, die sie gemeinsam machen. Seit 2021 schreiben, touren und spielen die Knumears (Bassist Dante Garcia II, Schlagzeuger Frankie Lopez und Sänger/ Gitarrist Matthew Cole) ununterbrochen. Sie haben sich von ausverkauften lokalen Shows mit jubelnden, kletternden, schreienden und tanzenden Jugendlichen zu nationalen Tourneen entwickelt und stoßen im ganzen Land auf die gleiche begeisterte Resonanz. Doch abseits des Tourchaos fand die Gruppe gleichermaßen Wachstum in ihrem Privatleben, stärkte alte Bindungen zu den Daheimgebliebenen, entdeckte neue Verbindungen und kultivierte ihre eigenen Welten. ,Wir alle haben uns irgendwie selbst gefunden und neue Beziehungen aller Art geknüpft", sagt Cole und reflektiert über die Entstehung des Albums. ,Für jeden von uns gab es viele Veränderungen." Zunächst waren all diese persönlichen Umbrüche nicht gerade förderlich für das Schreiben eines neuen Albums. Die Band sollte mit dem legendären Produzenten/Toningenieur Jack Shirley (Deafheaven, Loma Prieta, Touche Amore) aufnehmen, aber der Prozess der Band fühlte sich etwas stagnierend an, bis es plötzlich nicht mehr so war: , Wir hatten alle große Schwierigkeiten, kreativ zu sein", erklärt Cole. ,Wir hatten alle in anderen Projekten ein Ventil gefunden, während wir versuchten, dieses Album zu schreiben. Aber ein paar Wochen vor unserer Zeit mit Jack setzten wir uns zusammen und schrieben im Grunde genommen das gesamte Album. Wir probten dreimal pro Woche, wahrscheinlich anderthalb Monate lang, und es floss praktisch aus uns heraus." Das Ergebnis ist ein Album, das außergewöhnlich eindringlich klingt - selbst für ein viszerales Genre wie Screamo. Knumears bedienen sich eines Sounds, der hyper-unmittelbar und dennoch notorisch schwer zu definieren ist: Er entwickelte sich aus dem Urschlamm des Hardcore der späten 80er Jahre und verdiente sich den Zusatz ,Post" im wahrsten Sinne des Wortes, bevor er sich in den 90er Jahren mit Bands wie Heroin, Pg. 99 und Orchid zu etwas noch Emotionalerem und musikalisch Chaotischerem entwickelte. Der Sound entwickelte sich weiter mit einem weiteren Boom in den späten 2000er/frühen 2010er Jahren, als Loma Prieta, Touche Amore und andere die Musik zu etwas Direkterem und manchmal sogar auf ihre eigene bissige Art Eingängigem verdichteten. Jetzt stehen Knumears und ihre Zeitgenossen an der Spitze der modernen Screamo-Landschaft.

Knumears sind sich bewusst, dass keine Band in einem Vakuum existiert. Sie sind die Verkörperung einer klanglichen Tradition, die über Jahrzehnte hinweg geprägt und geformt wurde und nur von denen weitergeführt werden kann, die sie wirklich schätzen. Ob man es nun Screamo, Skramz, Post-Hardcore oder anders bezeichnet - es ist ein Sound, der die wechselnden musikalischen Strömungen der Jahre überdauert hat und nun eine ganz neue Generation von Underground-Musikern beeinflusst. Das Debütalbum von Knumears, ,Directions", ist gleichermaßen Liebesbrief und Kartografieprojekt, das die tiefgreifende Geschichte einer komplexen Szene erforscht und gleichzeitig einen spannenden Entwurf für eine neue Szene schafft. Knumears sind nicht nur eine Gruppe leidenschaftlicher Musiker, sondern auch Freunde, deren Bindungen ebenso wichtig sind wie die Musik, die sie gemeinsam machen. Seit 2021 schreiben, touren und spielen die Knumears (Bassist Dante Garcia II, Schlagzeuger Frankie Lopez und Sänger/ Gitarrist Matthew Cole) ununterbrochen. Sie haben sich von ausverkauften lokalen Shows mit jubelnden, kletternden, schreienden und tanzenden Jugendlichen zu nationalen Tourneen entwickelt und stoßen im ganzen Land auf die gleiche begeisterte Resonanz. Doch abseits des Tourchaos fand die Gruppe gleichermaßen Wachstum in ihrem Privatleben, stärkte alte Bindungen zu den Daheimgebliebenen, entdeckte neue Verbindungen und kultivierte ihre eigenen Welten. ,Wir alle haben uns irgendwie selbst gefunden und neue Beziehungen aller Art geknüpft", sagt Cole und reflektiert über die Entstehung des Albums. ,Für jeden von uns gab es viele Veränderungen." Zunächst waren all diese persönlichen Umbrüche nicht gerade förderlich für das Schreiben eines neuen Albums. Die Band sollte mit dem legendären Produzenten/Toningenieur Jack Shirley (Deafheaven, Loma Prieta, Touche Amore) aufnehmen, aber der Prozess der Band fühlte sich etwas stagnierend an, bis es plötzlich nicht mehr so war: , Wir hatten alle große Schwierigkeiten, kreativ zu sein", erklärt Cole. ,Wir hatten alle in anderen Projekten ein Ventil gefunden, während wir versuchten, dieses Album zu schreiben. Aber ein paar Wochen vor unserer Zeit mit Jack setzten wir uns zusammen und schrieben im Grunde genommen das gesamte Album. Wir probten dreimal pro Woche, wahrscheinlich anderthalb Monate lang, und es floss praktisch aus uns heraus." Das Ergebnis ist ein Album, das außergewöhnlich eindringlich klingt - selbst für ein viszerales Genre wie Screamo. Knumears bedienen sich eines Sounds, der hyper-unmittelbar und dennoch notorisch schwer zu definieren ist: Er entwickelte sich aus dem Urschlamm des Hardcore der späten 80er Jahre und verdiente sich den Zusatz ,Post" im wahrsten Sinne des Wortes, bevor er sich in den 90er Jahren mit Bands wie Heroin, Pg. 99 und Orchid zu etwas noch Emotionalerem und musikalisch Chaotischerem entwickelte. Der Sound entwickelte sich weiter mit einem weiteren Boom in den späten 2000er/frühen 2010er Jahren, als Loma Prieta, Touche Amore und andere die Musik zu etwas Direkterem und manchmal sogar auf ihre eigene bissige Art Eingängigem verdichteten. Jetzt stehen Knumears und ihre Zeitgenossen an der Spitze der modernen Screamo-Landschaft.

Knumears sind sich bewusst, dass keine Band in einem Vakuum existiert. Sie sind die Verkörperung einer klanglichen Tradition, die über Jahrzehnte hinweg geprägt und geformt wurde und nur von denen weitergeführt werden kann, die sie wirklich schätzen. Ob man es nun Screamo, Skramz, Post-Hardcore oder anders bezeichnet - es ist ein Sound, der die wechselnden musikalischen Strömungen der Jahre überdauert hat und nun eine ganz neue Generation von Underground-Musikern beeinflusst. Das Debütalbum von Knumears, ,Directions", ist gleichermaßen Liebesbrief und Kartografieprojekt, das die tiefgreifende Geschichte einer komplexen Szene erforscht und gleichzeitig einen spannenden Entwurf für eine neue Szene schafft. Knumears sind nicht nur eine Gruppe leidenschaftlicher Musiker, sondern auch Freunde, deren Bindungen ebenso wichtig sind wie die Musik, die sie gemeinsam machen. Seit 2021 schreiben, touren und spielen die Knumears (Bassist Dante Garcia II, Schlagzeuger Frankie Lopez und Sänger/ Gitarrist Matthew Cole) ununterbrochen. Sie haben sich von ausverkauften lokalen Shows mit jubelnden, kletternden, schreienden und tanzenden Jugendlichen zu nationalen Tourneen entwickelt und stoßen im ganzen Land auf die gleiche begeisterte Resonanz. Doch abseits des Tourchaos fand die Gruppe gleichermaßen Wachstum in ihrem Privatleben, stärkte alte Bindungen zu den Daheimgebliebenen, entdeckte neue Verbindungen und kultivierte ihre eigenen Welten. ,Wir alle haben uns irgendwie selbst gefunden und neue Beziehungen aller Art geknüpft", sagt Cole und reflektiert über die Entstehung des Albums. ,Für jeden von uns gab es viele Veränderungen." Zunächst waren all diese persönlichen Umbrüche nicht gerade förderlich für das Schreiben eines neuen Albums. Die Band sollte mit dem legendären Produzenten/Toningenieur Jack Shirley (Deafheaven, Loma Prieta, Touche Amore) aufnehmen, aber der Prozess der Band fühlte sich etwas stagnierend an, bis es plötzlich nicht mehr so war: , Wir hatten alle große Schwierigkeiten, kreativ zu sein", erklärt Cole. ,Wir hatten alle in anderen Projekten ein Ventil gefunden, während wir versuchten, dieses Album zu schreiben. Aber ein paar Wochen vor unserer Zeit mit Jack setzten wir uns zusammen und schrieben im Grunde genommen das gesamte Album. Wir probten dreimal pro Woche, wahrscheinlich anderthalb Monate lang, und es floss praktisch aus uns heraus." Das Ergebnis ist ein Album, das außergewöhnlich eindringlich klingt - selbst für ein viszerales Genre wie Screamo. Knumears bedienen sich eines Sounds, der hyper-unmittelbar und dennoch notorisch schwer zu definieren ist: Er entwickelte sich aus dem Urschlamm des Hardcore der späten 80er Jahre und verdiente sich den Zusatz ,Post" im wahrsten Sinne des Wortes, bevor er sich in den 90er Jahren mit Bands wie Heroin, Pg. 99 und Orchid zu etwas noch Emotionalerem und musikalisch Chaotischerem entwickelte. Der Sound entwickelte sich weiter mit einem weiteren Boom in den späten 2000er/frühen 2010er Jahren, als Loma Prieta, Touche Amore und andere die Musik zu etwas Direkterem und manchmal sogar auf ihre eigene bissige Art Eingängigem verdichteten. Jetzt stehen Knumears und ihre Zeitgenossen an der Spitze der modernen Screamo-Landschaft.

Long considered a "Holy Grail" of Latin vinyl, The Booga Mambo Beat (1967) by Steve Hernández y Su Orquesta Latinoamericana returns.

This LP has puzzled collectors for decades: who was Steve Hernández, the shadowy figure behind this powerful orchestra including top Puerto Rican and New York musicians?

Arranged by Ray Santos and featuring vocalist Vitín Avilés, the album delivers a unique mix of mambo, boogaloo, descarga, proto-salsa and 1950s big-band swing. A rare bridge between the Palladium sound and the emerging salsa era. Originally self-released and barely promoted, the record became a cult favorite among DJs and collectors.

Sourced directly from the original master tapes, discovered in outstanding condition, this edition is pressed on 180-gram vinyl and includes extensive liner notes by Pablo E. Yglesias (DJ Bongohead).and a digital download code.


A must-have archival release for collectors, DJs, and anyone fascinated by the hidden corners of Latin music history.

From his roots in House, Alex Finkin is a renowned producer and creative director. Working in his Paris studio he has developed numerous projects, notably his own (Roseaux), as well as commissions for radio and television. Meanwhile, with 30 years of production and DJing under his belt, Rocco Rodamaal belongs to the elite circle of House innovators who continue to influence the scene. He's played alongside some of the best in the industry showcasing his versatility and deep understanding of the genre, and remixed artists including Marshall Jefferson, Kerri Chandler, Louie Vega & Moodymann, Todd Terry, Barbara Tucker and Robert Owens to name just a few. Alex Finkin befriended Rocco Rodamaal, who he met via the soulful Parisian club Djoon, where Alex was resident from 2006 to 2014. They have since collaborated on a number of projects together, including "In Da Hood" released on COD3 QR in 2023. Kenny Dope's "O'Gutta" remixes are a series of house and club-focused reworks characterized by raw, gritty and often stripped-back percussion, which he now brings to "In Da Hood".

Ross McMillan, known professionally as Carlos Nilmmns, is a Scottish electronic music producer, DJ and composer originally from Glasgow. Over the years he has collaborated with a range of notable artists, including Grammy-nominated and Grammy-winning figures, including Kenny Dope, Carl Craig, Kevin Saunderson and Davina Bussey, plus respected artists like Niko Marks, Rolando, Laurent Garnier, Santiago Salazar, Hardrock Striker, Karl The Voice, Zadig, Ben Sims, Andrés (who worked with Jay Dilla and Moodymann), and YouANDme. His music has been released on Planet E, Trax, Cocoon, Ornaments, Circus, Virgin, Skylax/Universal Music France and more. His style draws from house, techno and jazz influences, often combining analogue and digital production methods. A returning regular and COD3 QR favourite, he's back with another stunner in "Latin Quarter".

K' Alexi Shelby is a prominent figure in electronic music and with a career spanning decades, he's established a significant influence on House and Techno. Throughout his career he's worked with many well-known artists and remixed tracks that are now key pieces. The cultivation of his massive musical catalogue has overflowed into albums and the three labels he heads. It's also led to legendary collaborations with artists such as The Pet Shop Boys, Robert Owens, Kenny Dixon, Roy Davis Jr., Maurice Joshua, Terry Hunter, Joe Smooth, Steve Silke Hurley, Tyree Cooper, Ron Trent, Glenn Underground, Larry Heard, DJ Pierre, Carl Craig, Felix da Housecat, Marshall Jefferson, Will Smith and countless others. Already respected around the world as a true underground House legend, he delivered "Flame" in 2025 for COD3 QR. Now he's back with "When I", another deep and sexy cut.

Benny Rodrigues a.k.a. ROD unveiled his new moniker, The Lost Souldancer when he dropped "No More Voices" for COD3 QR last year. In his own words, Benny says: "The Lost Souldancer is about coping with the loss of what once was. Finding comfort in the invisible rather than what can be seen. Disconnect to connect in order to be loved rather than liked." He continues this ethos with the delicate and melodic closing track "Life and Death".