Superb EP, dark Nederland Acid original style...
A side brings a twisting game with beats and a deep drowning effect... At the frontier of Doom, Industrial Acid and Techno old school...
The flip is a total Curley style tune with a fantomatic dark synth coming and going behind... Secretly.
Enjoy !
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One side silver lazered print.
One side for the music :
2 first tunes play 33 RPM
Third tune plays 45 RPM.
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This is not the first release of Sickfest, and we could already appreciate his talent as a producer in other music styles on vinyl and netlabels, but this is his first venture in the realm of hardcore-techno, and he turned to mars assault for that: here we have two uncompromising fast hardcore-techno tracks that shows how well Sickfest understands and masters this style, with a very accurate studio production brought to light by another great cut at the legendary dK mastering studio. After Rhose & Bloodhole last year, Mars Assault Limited is definitely back and Sickfest do not disappoint !
The third track is from Sh6b6r6, a collaboration between Sickfest and his mate Havuza, resulting in some kind of downtempo electronic metal/breakcore, allowing us to take a breath after/between all these uptempo tracks. Cut in 33/45rpm for optimal sound quality, 300 copies limited, full size UV print on the flip side.
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Debt is a new album by Harvey Sutherland about the cost of doing business in the meme economy. In his first LP since the 2022 debut, Boy, the Australian artist reduces his fusiony disco repertoire to ten microhoused funk essentials. This is minimalism not so much as aesthetic conceit than pressurised container, shaken in the Escherised time and space unique to our overdriven, red-lining present. The album's title nods to the financial contortions necessary to strive/survive/thrive as an independent artist. But Debt is better understood as the ledger of what we owe, and to whom, in the course of a creative life. What's the ROI on being an artist, a son, a friend, a partner, a father? Have we been worth our loved ones' own investments? If that sounds transactional, this is merely the lingua franca of our overwhelmingly digital culture, a grifter's bazaar in which Bob Dylan tunes up over Salt Bae, and Wordsworth's pitch is opposite the Rizzler.
Debt came to life when Harvey Sutherland acquired a freightload of Y2K minimal cargo from Akufen, Ricardo and Baby Ford—courtesy of local Melbourne hero Martin L—which bent the album towards a moreish pointillism. The resulting music's eyes-down minimal gestures within expressive pop shapes feels apt for the apparently contradictory things we can't help craving: immediacy and craft, on-tap "authenticity," life lessons drawn from Reel nonsense. A few years after the "neurotic funk" of Boy, a thorough excavation of interiority that comprised Harvey Sutherland's first LP proper, Debt is his to-the-point response to pressures that manifest outside the self. But in its own way it remains a reflection of Harvey Sutherland's musical innerscapes, which stretch across the grit and glitter of private-press disco and the sensual grids of Metro Area.
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Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), and trad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.
expected to be published on 14.11.2025
expected to be published on 14.11.2025
For our ninth offering we have ventured out of our small but fertile swamp in search of another source of magick. Meandering across boggy pastures new, we crossed paths with Steevio, who sat hovering serenely in the fern covered shade of a nearby valley. Instantly recognising the singular vision of this fabled artist, we hastily gathered our nets and cast them under Steevio’s branches, capturing four beautiful offerings as they wriggled towards us. Upon the return to our mulch, it became clear that we could not contain Steevio’s creations, so willful was their vitality. It was therefore all we could do to release them back to the universal dance from whence they came.
The dance germinates with the writhing polyrhythmic ‘Apricity’. Hearing the crunch of frost laden grass beneath our webbed toes, we look above us to search for the sun. Angular beams of light escape over the horizon, as the warmth of Steevio’s machines coalesce. A glistening hi hat breaks through the membrane to bind his creation and anchor its ever shifting arms.
‘Octopus’ glides gracefully through a sun-dappled kelp forest. Sub frequencies rumble up from the shadowy darkness below, rippling along the fronds as they ascend. As the ocean begins to churn, a wriggling melodic tentacle parts the foliage, gleaming with primordial energy. Its joyful visit to the surface realm leaves us with a brief yet powerful reminder of the mystery beneath.
The glow of the midwinter sun warms our bones on ‘Apricity (Sunrise Mix)’. Percussive elements bubble out of the depths, forming intricate cascading patterns as they grow over the perfectly formed kicks. The moog filter tames the brew with Steevio’s intuitive restraint , until he releases its mighty power upon the gleeful forest dwellers, to their rapturous gratitude.
With ‘Adref’ we return home. The sedate tempo provides oceanic space for a melody which inhales and exhales over a familiar landscape of perfectly tuned percussion. With each breath the melody seems to increase its reach, until it’s buried deep within our bones, its memory resonating on long after it’s gone.
Steevio’s music reflects the universal moments where seemingly chaotic and disparate elements are suddenly revealed to be perfectly harmonious. Of course examples of this are always universally present in nature, and have been eternally, but we have to be reminded to appreciate them. In the same way that a wave deposits a perfect line of shells on a beach, dew freezes on grass, or individual strands of mycelial hyphae bind together to form incredible patterns, Steevio’s music is likewise; effortlessly considered. For us, it has more in common with the unrelenting flow of a river than it does with dance music. It is psychedelic music in the same sense that nature is intuitively psychedelic; without ever leaning into any tried tropes of what is culturally considered ‘psychedelic’ music.
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Played out a couple of times by the KM crew, and eagerly anticipated by the community, &ME's remix of UNKLE's already classic tune „Only You" is available now. The original track taken from UNKLE's 2019 album The Road: Part II / Lost Highway features regular UNKLE collaborators including West London's Miink on vocals and celebrated composer and arranger Wil Malone on strings, famed for his work on Massive Attack's Unfinished Sympathy and The Verve's Bittersweet Symphony. Here we once again witness &ME feeling through the source material just to do what he does best: adopting the emotive essence of a track and moulding it into a reduced and unpretentious, yet highly compelling club-weapon of anthemic magnitude. This one will be all over the place, that's a given.
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Noumen returns to Central Processing Unit after a six-year absence with Altum. This bumper record, the Ukrainian artist's fourth release for the Sheffield label and first since 2019 double-LPObscurium, serves to remind us all why Noumen's music has been lauded by the likes of Mixmag and Resident Advisor in the past.Altumis a consummate piece of contemporary electronic production, a technoid exploration of outer-edges electronica that nods to genre greats like Autechre while still maintaining its own unconventional charm.
Across well over an hour of music here we find Noumen repeatedly playing punchy mid-tempo beat work off of some more cerebral tuned synths.Altumkicks off with the epic 'Oion' - beginning in that Autechre/AFX mid-tempo zone, full of deep-sea bangs and whirrs, the track slowly builds to a final stretch of delay-drenched keys which set us free amidst the outer cosmos, almost Sun Ra-style. It's a perfect liminal-space roller and an apt scene-setter forAltum.
'Oion' provides a blueprint for several of the album's other highlights - plenty of the joints here adopt that same approach of hitting hard with the drums and soft with the synths. Second track 'Splitter' takes on the baton from 'Oion' while souping up the kick to warehouse levels; the beats in 'Far Wind' splutter like a needle skipping on a mid-90s Tresor drop; 'Fate Carette', all eerie looped synth leads, is a highlight as the album enters the home straight.
The rhythm production (which, it should be noted, is exemplary throughoutAltum) is ratched up in intensity on a handful of numbers. 'Telemask' displays a delightful breakbeat - if you'd told me this was sampled from golden age A Tribe Called Quest, I'd have believed you. Mid-section anchors 'Awe' and 'Axis' are glitchers in the Mike Paradinas mould, with the latter showing off some pleasing steel pan-esque synth leads for good measure. And whileAltumgenerally maintains a processional pace throughout, there are points where Noumen toughens up the drums for club deployment - 'Unveilness' shows off a real chunkiness in the low end, closer 'Spurling Sign' plays a satisfying rolling groove off of ever-layering synths, and the title-track is an alien machine-funker in keeping with fellow CPU electronauts like Silicon Scally and Cygnus.
Noumen's third album for Central Processing Unit is a pleasingly hefty double-LP which builds on the zany invention of acts like Modeselektor and Autechre to delightful effect.
FFO: Autechre, Aphex Twin, Modeselektor, Bochum Welt, LFO
There are artists we occasionally happen across, even 14 years into our FatKidOnFire journey, where we know we need to work with them. There is material from said artists which sets our world on fire, and then there’s the four tunes that make up our first physical record in over two years. This one’s a long time coming, and also marks one of the first instances in FKOF Records where we welcome an artist to the family with a straight-to-record release. When you hear it, you’ll understand why. This is the long overdue FKOFv009…
Over the last decade and a half, the 140 landscape has been through its peaks and troughs. Tastes and styles change, but the one constant is when we find the right beats, bass and space we know we’re onto a winner. The international TRAKA collective caught our eyes and ears early on in their project – for all the right reasons. We’re delighted to welcome them to FKOF Records with a long-overdue record, as well as welcoming long time FKOF fam Oddkut back into the fold.
“The ninth outing on FKOF Records’ physical imprint opens with the anthemic voice of Rider Shafique joining forces with TRAKA for ‘Soo’. Hard-hitting truths, juddering percussion and a rolling low end so solid you can almost chew on it. Keep fighting and rise.
“Next up, we ratchet things up a notch with ‘Shock Em Up’. It’s an absolute unit of a tune, and when we get asked for what we mean by beats, bass and space this is our 2024 example. Effective heavyweight sonic warfare.
“FKOF009’s B-side opens with ‘Silus' – continuing along the foundations TRAKA laid on the A-side. Suffocating power, engaging atmospherics and a vibe that works at peak time on the dancefloor as well as it does opening or closing out the graveyard slot.
“We close out the record welcoming Oddkut back for his latest outing on FKOF Records with the TRAKA collab ‘Shake Junt’. It twists and turns through its first drop, before taking a completely new direction in the break. It’s an absolute groove and one that’s been a firm favourite for as long as it’s been in the bag.”
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It's not often where I sign a whole release off the back of a demo folder sent to me but when Radicall sent me some tunes he'd made on the Polyend Tracker, I was well impressed by the quality of the tunes & knew I had to have some for the label.
I narrowed it down to my favourite four and thankfully, they were all available for signing and ready for release, probably one of the most seamless releases I've worked on since I started Future Retro London a few years back!
Big thanks to Radicall for his wicked tunes!
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I first remember meeting Eminence in 2019, at one of her Upraw events she was doing at the time in Leeds (now taking place in Bristol). She had booked me & Coco Bryce to play & since then, we kept in contact and she would send me her music that she was working on.
Last year, I heard that she had collaborations on the go with both Dwarde & Kid Lib, which made me curious about how those tunes would sound & when she sent me early previews of them, I was very keen on getting them for the label. It took quite a while for both of these collabs to get finished but eventually, after many back & forth between Eminence & both artists, we reached a point where everyone was happy (I think!) with the end results.
I was asked by Priori (a producer based in Montreal) who runs a label called NAFF about doing a remix of this tune called "First Step To Peace" by Sabola. I did the remix that month & both him & Sabola were pleased with how it sounded and it got the go ahead for release (should be out at some point soon!)
In February, I had a gig in Montreal where I was able to meet both of them beforehand to hang out and chat about music and such & getting to know Sabola in person, I realised that he had more interest in & knowledge about jungle than I had initially assumed. Also, he was occasionally producing jungle tunes, but none of them had been released before.
I asked him to send me some of what he had been working on & when he sent me "Close Your Eyes", I knew straight away that I needed to get him on the label in some form. I signed that track instantly and then waited for him to work on some more music for a Future Retro London release, which then resulted in "Give You Some Space" & that was all I needed.
In the end, I decided that rather than doing 2 separate 10" releases for the collabs Eminence had done with Dwarde & Kid Lib and the tracks that Sabola had made, it would be more practical to combine them into a split 12" EP release & here we are.
Big up to Eminence for her collabs (as well as her putting up with my constant chasing up of progress for the release), to Dwarde & Kid Lib for their work on the collaborations, to Sabola for his excellent work on his two tracks & to Priori for introducing me to his music.
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★A rare reissue from obscure R&B singer Oscar Boyd
★First time reissued on vinyl in more than 60 years" "Oscar Boyd made his debut in 1959 with a single on Checker Records (featuring backing vocals by The Calvaes,
a Chicago doo-wop group who released two singles on Cobra Records), but he remains a relatively obscure singer with little widely known about him. His 1962 release
on the Hermes label is also a gem, and that same year he released this single on USA Records.
The B-side, She’s My Baby, is an absolute highlight—a thrilling rockin’ R&B track with a catchy melody, Boyd’s aggressive vocal delivery, and an outstanding backing performance.
The A-side, Twist With Ossie Lee, lives up to its name as a lively and danceable tune featuring a female vocalist—likely Anita, who also recorded a single
on USA Records in 1962 under the name Oscar & Anita.
expected to be published on 07.11.2025
Comes with 4 page insert, English and Japanese liner notes and lyrics.
A contemporary folk wonder from Cornwall (Falmouth), England.
"We at EM Records love to transport our listeners to new worlds, other worlds; “Pantilde”, this magical new album from Cornish avant-folk performance artist The Worm, is indeed an ethereal new world: otherworldly, but somehow rooted; an imaginary oral and musical story of everyday village life in an alternative Celtic landscape. The music here is strange yet familiar, fantastical and enchanting while remaining simultaneously attached to the earth. Amy Lawrence, aka The Worm, plays cello, harp, recorders and percussion, accompanying and framing her rich voice, which is often overdubbed into lovely homespun vocal ensembles; they tell song-stories of mythical and mystical village life, of nature and the human relationship with the natural world. The Worm can be considered part of a lineage which includes The Incredible String Band, Shovel Dance Collective, Bridget St John, Dorothy Carter, Vashti Bunyan, Jessica Pratt, Cathrine Howe, Mary Lattimore, Tristwch Y Fenywod and of course many others. “Pantilde”, a time-trip to a dreamlike, pastoral world that nevertheless feels distinctly realized, is a remarkable avant-folk fantasia, co-released with Prah Recordings.
expected to be published on 07.11.2025
When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.
Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.
The journey begins with “Beginning Again, ” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset. ” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.
The title track, “Straight Ahead, ” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.
At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”
Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.
expected to be published on 07.11.2025
Volpe is the finely tuned trio led by Ghent-based pianist Heleen Andriessen. Drummer Stijn Demuynck and bassist Kobe Boon support Andriessen's lyrical melodies with an infectious groove. The carefully crafted compositions alternate between energetic and melancholic, allowing the listener to feel immersed in a warm bath while transporting them to an uncanny world.
'elders' (Dutch for "elsewhere"), doesn't refer to a physical place but to a refuge in Heleen's mind-a sanctuary where she searches for beauty on gray, rainy November days. A simple detail taken from everyday life can serve as a gateway to this hopeful, imaginative world. Musically, this translates to repetitive patterns that gradually evolve or suddenly burst open. Subtle dissonance is welcome here, with the band lovingly embracing the slight disruption it offers. Heleen's playful runs and Stijn Demuynck's grooves balance the melancholic undertones. Seemingly simple melodies tell stories and offer familiarity to listening ears.
keywords: piano trio, contemporary jazz, keith jarrett, modal jazz, minimalist
expected to be published on 07.11.2025
These gifted artists gathered, for what they knew was probably the last time, at their beloved clubhouse. That’s what these legendary southern musicians called Capricorn Studios in Macon, GA. These sought after performers had been here many times before as a part of their journey. This time they were here to record some of the best and last tunes of Tommy Talton’s life. There was sincere respect and love in that studio, for the individuals, for their talents and for their accomplishments. You can feel, hear and experience the emotions in each and every song. They gave it their finest effort for a life-long brother and it brought heartfelt joy to all that witnessed it.
expected to be published on 07.11.2025
If there is one thing we at Real Gone have learned during our rollicking ride of reissuing The Donnas’ catalog, it’s that they never did anything halfway. And we’ve tried to do the same in bringing their music back to their devout fanbase. Now, by popular demand, and after years of pursuing the rights, we are thrilled to announce that we are releasing their last studio album, Bitchin’, in an expanded, newly annotated, and newly remastered edition! This 2007 release was put out by The Donnas’ own Purple Feather label, and marks a return to the girls’ glam metal and punk roots after the classic rock leanings of Gold Medal…they’ve escaped the major label machine, and are ready to have a good time! Singalong songs like “What Do I Have to Do” and “Don’t Wait Up for Me” have definitely entered The Donnas’ canon, and tunes like “Save Me” confirm that this band’s ability to set a hook in a chorus remains unabated. For this first-ever reissue, we’ve rounded up an entire side of bonus tracks, including the two songs (“Randi” and a cover of “Safety Dance”) that were only available on the vinyl release, a track (“New Kid in School”) that was previously available only as a download, two outtakes (“We Own the Night” and “She’s Out of Control”) that showed up on the Greatest Hits Vol. 16 comp, and a track that only came out in Japan (“Can’t Keep It a Secret”). The whole thing’s been remastered for vinyl by Mike Milchner at Sonic Vision, and our gatefold-plus-insert once again includes fresh commentary by Brett Anderson aka Donna A. Bitchin’ comes in a double scoop of strawberry with black swirl vinyl…we’re here for the party!
expected to be published on 07.11.2025
There’s a freedom in knowing we are all doomed, a sense of liberation from society’s morals and the considerations of commerce. That’s the territory trod by Sorrow on its lone album, 1992’s Hatred and Disgust. This album doesn’t bring you down, it takes you down. Down-tuned guitars, slowed- down tempos. Lyrics with a deservedly dim view of mankind. And fat as f*** riffs that will annihilate you. Finally released in the U.S. on vinyl and with the full support of the band, Hatred and Disgust comes in a blue smoke pressing limited to 1000 copies, complete with a lyric insert. If you like your doom metal with a side of thrash and death metal, this lost classic (remastered for vinyl by Mike Milchner) will satisfy like few others. Fans of Slayer, Obituary, My Dying Bride…take note.
expected to be published on 07.11.2025
expected to be published on 07.11.2025
"Love it! Electronic wonkiness at its finest" - Richard Norris (The Grid)
TEA, CAKES AND THE (WO)MAN MACHINE
Curtain Twitcher could only have emerged from Sheffield.
A female electronic duo whose corrupted downtempo post Balearic chug pulses and wobbles, throbs and twitches - full of fat noises and bolshy Moogery.
It's human and appealingly analogue. More Delia Derbyshire's Radiophonic Workshop than DAF, More Tangerine Dream than Depeche Mode. Not your average bloketronica.
Frankly this music doesn't behave itself in any way you might expect. Plugged in post rave pop can be far too orderly. Music should be messy. Even on occasion revealing a tune your mum could hum.
"Leap The Dips" emerged from machine jamming with a creative freedom that only comes from friendship. That friendship is a musical one but it's also real and genuine: "We’ll talk about pretty much owt if you provide the tea and cakes".
expected to be published on 06.11.2025
Underground Macedonian techno rebel Stojche known for his no nonsense vibrant and dynamic Detroit schooled productions enters the dolly family! With releases on label like a.r.t.less, Syncrophone and Fuse Brussels he is an artist well in tune with his craft. 'Cause & Effect' is another consistent Stojche voyage, remaining true to his sound that stands for high quality techno with a heavy dose of funk and emotional content that simply never misses!
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Sex Tags UFO presents the second instalment of the non stop ongoing HOUSE music collaboration between the Burger man and DJ Sommer! Music created as house music as a FEELING!
Another four track EP smashing out some fine underground house music, all with the mix of DJ Sommers studio skills and old-school hardware approach, and the Burger man's wonky touch! The almost weekly live session recorded in DJ Sommer's studio, then arranged and mixed at Casa de Fett bare some fruits, and here is their first record!
The first track on this EP, a deep and mellow house groover, with some trippy beats and percussion that keeps it moving. Deep pad, with a light and engaging melody on top. A real house groover to start the night.
The second cut, the energy shifts! A power infused feel good house track with spacey elements, timeless and simple 909 kick, a catchy bass line, swinging hi-hats for the groove, a strong classic snap. Added with some keyboard infused organ melody, and a 303 bass line. Sparkled with some synth EFX to give it a feeling of Galaxy!
One the flip side we go back to the depth. A deep tribalistic and dubbed out house track. Simple by all means. A moving and grooving beat added with a simple but catchy pad that brings everything together! Simple, pure and groovy!
The last tune on the EP, another uplifting energy driven house track! Classic US house style, with the driving, and swinging beats to make you move. With an uplifting organ pad, and some additional party oriented flute action! A real underground party smasher!
Just as previous time, versatile, simple, raw dance floor oriented HOUSE EP made in and for the underground!
Enjoy!
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Repress!
200 COPIES ONLY
Nils Frahm has unexpectedly confirmed details of a new collection of solo piano music, his first album since 2022’s three-hour Music For Animals. Day will be released by LEITER on March 1st, 2024, and it will be available on limited edition vinyl as well as via all digital platforms. Recorded in the summer of 2022 in complete solitude and away from his studio at Berlin’s famed Funkhaus complex, it is preceded by a single, ‘Butter Notes’, out on January 19. Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style. Day, which contains six tracks, three over the six-minute mark, is the first in a pair of albums Frahm has lined up for 2024. In keeping with their nature, however, he won’t be making a song and dance about the release. Instead, he’ll resume his ongoing world tour, which has already included fifteen sold-out dates at Berlin’s Funkhaus as well as a show at Athen’s Acropolis. It will continue with shows all over the world, among them several sold-out dates at London’s Barbican in July 2024, where he previously curated a weekend of music, film and art, Possibly Colliding, in 2016. The album is best enjoyed in the manner in which it was recorded, in the intimacy of a peaceful, cosy room. There are muffled pedal creaks on the cyclical, quietly jazzy ‘You Name It’ and, during the palliative ripples of ‘Butter Notes’’ arpeggios, the sound of dogs barking in the streets outside. The compassionate, hesitant ‘Tuesdays’ and emotionally ambiguous ‘Towards Zero’ linger with the poignant persistence of Harold Budd’s earliest work, while ‘Hands On’ is a sometimes brighter, airier tune that sets its own, deliberate pace, and, as he has on occasions before, ‘Changes’ sees Frahm employing elements of his instrument’s construction in a ‘prepared piano’ fashion. Characterised by its confidential mood, Day confirms that, while Frahm is arguably now best known for elaborate, celebratory concerts calling upon an arsenal of pianos, organs, keyboards, synths, even a glass harmonica, he’s still a prolific master of affecting simplicity, tenderness and romance.
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expected to be published on 31.10.2025
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Two years before the legendary trumpeter mysteriously fell from the window of a Dutch hotel, he delivered this high-level live performance on a stage in Bologna, Italy, in 1985.
Accompanied by Philippe Catherine on guitar and Jean-Louis Rassinfosse on double bass, Baker drew on his natural charm, that utterly disarming magnetism which made him deeply moving, even when decline was looming. Baker carried within him that inner fracture, that haunting depth that rendered every note fragile. Released for the first time as a double 180 gram vinyl LP with HD vinyl mastering
expected to be published on 31.10.2025
Let the Good Times Roll (Terlinde Music Shop, St. Paul, MN, 1956)
I Got a New Girl (Informal Recording, Hibbing, MN, 1959)
Jesus Christ (Informal Recording, Minneapolis, MN, 1960)
K.C. Moan (Informal Recording, Madison, WI, 1960)
Remember Me (Informal Recording, East Orange, NJ, 1961)
Railroading On the Great Divide (Gerdes Folk City, NYC, 1961)
Man of Constant Sorrow ('Bob Dylan' Rehearsal, NYC, 1961)
He Was a Friend of Mine ('Bob Dylan' Outtake, NYC, 1961)
Ramblin' Round ('Bob Dylan' Outtake, NYC, 1961)
Story: East Orange, New Jersey (Party, Minneapolis, MN, 1961)
Po' Lazarus (Party, Minneapolis, MN, 1961)
Dink's Song (Party, Minneapolis, MN, 1961)
I Was Young When I Left Home (Party, Minneapolis, MN, 1961)
Cocaine (Party, Minneapolis, MN, 1961)
Talkin' New York (Gerdes Folk City, NYC, 1962)
Corrina, Corrina (Gerdes Folk City, NYC, 1962)
(I Heard That) Lonesome Whistle ('Freewheelin'' Outtake, NYC, 1962)
Rocks and Gravel ('Freewheelin'' Outtake, NYC, 1962)
Let Me Die in My Footsteps (The Finjan, Montreal, 1962)
Tomorrow Is a Long Time (Party, Minneapolis, MN, 1962)
Don't Think Twice, It's All Right (The Gaslight Cafe, NYC, 1962)
The Cuckoo (The Gaslight Cafe, NYC, 1962)
The Ballad of the Gliding Swan (BBC-TV, London, 1962)
John Brown ('Broadside Ballads' Album Version, NYC, 1963)
Dusty Old Fairgrounds (Town Hall, NYC, 1963)
House of the Rising Sun (Informal Recording, NYC, 1963)
Seven Curses ('The Times They Are A-changin'' Outtake, NYC, 1963)
Masters of War ('Freewheelin'' Alternate Take, NYC, 1963)
Girl from the North Country ('Freewheelin'' Alternate Take, NYC, 1963)
Liverpool Gal (Party, Minneapolis, MN, 1963)
Boots of Spanish Leather ('The Times They Are A-changin'' Outtake, NYC, 1963)
Moonshiner ('The Times They Are A-changin'' Outtake, NYC, 1963)
The Lonesome Death of Hattie Carroll (Party, Los Angeles, 1963)
The Times They Are A-changin' (Informal Recording, Los Angeles, 1963)
Who Killed Davey Moore? (Carnegie Hall, NYC, 1963)
Lay Down Your Weary Tune (Carnegie Hall, NYC, 1963)
Blowin' in the Wind (Carnegie Hall, NYC, 1963)
North Country Blues (Carnegie Hall, NYC, 1963)
A Hard Rain's A-gonna Fall (Carnegie Hall, NYC, 1963)
Talkin' World War III Blues (Carnegie Hall, NYC, 1963)
Only a Pawn in Their Game (Carnegie Hall, NYC, 1963)
When the Ship Comes In (Carnegie Hall, NYC, 1963)
expected to be published on 31.10.2025
Bilders new album, Neverlasting is a mix of psychic adventures, hard psychedelia and commentary with a bite. Bilders have always sung outliers with a heap of empathy—exploitation of migrants, unmitigated killing and the state of our depleted planet. This album maintains an analog feel with technical finesse as it casts a cold eye on uses and abuses of power in the higher echelons. It is pure Bilders. Surprise collaborations bring in fresh tangents of colour and emotional edge. “We are the Neverlasting renter-squatters of Earth exhausted”. The band is once again the voice/guitar of Bill Direen, bass of Matt Swanson and near everything else by Alex McManus, with guesting by former Bilders. It’s the same lineup as last year’s acclaimed Dustbin of Empathy, released by Grapefruit and Sophomore Lounge, and the first ‘core’ Bilders lineup to remain constant for more than one album. The new compatibility shows. It’s an album that builds on current strengths. Notable guestings include Athens Georgia lights Claire Horne of 1980s BBQ Killers, and Curtiss Pernice, guitarist of heavy vanguard Porn Orchard, with a snook-in from experimental and electronic prince Todd Gerber. Two never-released tunes by vintage Bilders (Stu Page and Greig Bainbridge) sit perfectly with the new material. This is quite simply the strongest Bilders album ever.
expected to be published on 31.10.2025
Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.
The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.
The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.
Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.
Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.
Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.
Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.
Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.
Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.
Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.
As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.
[d] 04: All the Goodbyes (You Tried to Defer) [Original]
[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]
expected to be published on 31.10.2025
Back from ‘96 — Abacus’ legendary The Abacus EP returns, now reissued as Erotic Illusions. Deep, soulful and hypnotic house at its finest, straight from the Guidance era. Pure timeless heat — grab it before it vanishes again.
DJ Feedbacks :
Laurent Garnier : Classic <3 <3
Nick Hoppner : OOOOOH YES
Dan Beaumont (Chapter 10 / NTS) : Decadent dub for me! lovely
Louise Chen (NTS) : Huge fan, this is a wonderfully sexy reissue!
Joel Martin (Quiet Village) : Timeless Classic from one of the masters - Essential!
Kölsch (IPSO / Kompakt) : Still sounds so fresh
Sven von Thuelen (SVT / Work Them) : Sublime!
Josh Wink (Ovum) : Sounds just as great as when it first came out!
Satoshi Tomiie (Abstract Architecture) : Soooo good! Every details tuned precisely
Carista : sickkkk
Crackazat (Freerange / Local Talk) : yes. of course
Anthony Collins (Frank & Tony / Scissor & Thread) : fantastic record
Hunee (Rush Hour) : classic!
Call Super (Houndstooth) : lovely thxxx
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Radio Slave (Rekids) : Such a big fan !!! Full support and congrats on the re-release. Peeps need to know about "Abacus".
Ben Sims : Now downloading... will check asap!
nd_baumecker (Ostgut Ton) : YAAAAAS! Finally I have this in a better quality than my vinyl rip from the original 12". Vinyl is preordered. Thanks!
Jonnie Wilkes (Optimo) : SEMINAL.
Lawrence (Dial) : OMG Fave Classic!
Fouk (House of Disco / Razor N Tape / Room With A View / Heist) : Ooooh yes! <3
Hector Romero (Def Mix) : Love it. H
Aleqs Notal : Lovely repress
Alinka (Twirl / Classic / Crosstown Rebels / Batty Bass) : Beautiful tracks
Terry Farley : fantastic reissue for those that missed the golden era
Ian Pooley (Pooledmusic) : Sooooooooo good !
Marcia Carr : The Dub without a lot less of the sleazy vocal is cool.
Nick Holder : FIRE
DJ Bone (FURTHER) : Poetic Illusions and Decadent Dub both work for me.
Nat Wendell (Depth of My Soul / Courtesy of Balance / Love & Loops) : classy!!
Luke Solomon (Classic / Freaks / Music For Freaks) : absolute classic Kenny Hawkes special xxx
ROD / Benny Rodrigues : !!!!
Domenic Cappello (Subclub) : still sounds fresh
Alexkid (Rawax / FUSE / NG Trax) : Total Dopeness
Jimpster (Freerange) : An absolute classic from the golden era! Got the vinyl but I'm sure these new masters will sound better than my well worn vinyl rip! Will keep on banging this beauty.
Bake (All Caps / Rinse FM) : the best! thank you for reissuing :)
Dj Deep (Deeply Rooted) : Nice to see this beautiful release available again
Kai Alce (Real Soon) : CLASSIK!!
Mr. V (Sole Channel / Strictly Rhythm / Salter / Defected) : Solid work on this classic Thanks
Baby Rollen (Holding Hands / Slump / Futureboogie) : timeless
DJ Gregory (Point G / Faya Combo) : Alwayes loved that classic
Tom Esselle (YAM / Rhythm Section / WOLF Music) : Killer reissue!
Harri (Sub Club) : nice, will play and support
Hifi Sean (Defected / Plastique) : Diggin' this dub big time
Jenifa Mayanja (Bumako Recordings) : This reissue sounds just as good second time around. Straight dance floor magic. Moody and dubby perfect to zone out to in a dark corner somewhere.
Demuja (MUJA / Let's Play House / Madhouse / Freerange) : nice!!
Marcel Dettmann : thx
Kosh (Syncrophone) : doesnt get any better than this
Dj Hutch (Ambers / Rinse FM) : Lovely deep business! Thank you!
Geir Aspenes (G-Ha / Sunkissed) : Kool, thanks
D'Julz (Bass Culture) : classic alert!
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expected to be published on 30.10.2025
expected to be published on 30.10.2025
NSDA, the visionary imprint led by Anfisa Letyago, presents TUNEL, the debut album from Argentine producer Unfinished Portraits. The 11-track album explores a richly immersive world of brooding textures, melodic storytelling, and cinematic sound design.
"A journey inward. A space where the hidden comes to light and everything shifts shape. Each song is a signal in the dark, a guide to keep moving forward without losing your way" says Unfinished Portraits about the album's concept.
A rising force in the underground circuit, Unfinished Portraits builds a signature style rooted in techno, ambient, and electronica - combining hypnotic percussion with atmospheric depth. Across TUNEL, he constructs a soundscape that is both introspective and physical, designed for deep listening as much as late-night floors.
"When I first heard Unfinished Portraits music, I felt an immediate connection. There's something raw and cinematic in his sound that felt perfect for NSDA," says Anfisa Letyago. "Collaborating on this album was really special - it's a beautiful example of how storytelling and club energy can live in the same space."
Anfisa appears as a featured artist on three standout tracks - Home, Confusion, and Radar - adding emotional weight and rhythmic edge to the release. Their creative synergy underscores NSDA's commitment to supporting innovative new voices with bold sonic perspectives.
TUNEL will be available as a full digital album, with a limited-edition vinyl sampler featuring six selected tracks.
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As Grammy nominee, remixer for Madonna, Moby, and the Chemical Brothers, and winner of various prestigious awards and hearts on dancefloors across the globe,
Welsh DJ Sasha hardly needs an introduction. In 1999 he released the double 12" EP Xpander containing four epic progressive trance tunes each clocking in at over 10 minutes. Each track progresses slowly and takes you for a ride across numerous tense build-ups and intense releases without ever letting up Xpander EP is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes printed inner sleeves.
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Fusing hypnotic rhythms with cutting-edge sound design, the French producer carves out a space where melancholy meets euphoria, and violence dances with beauty.
This record is not just a collection of tracks; it’s a cohesive narrative, each piece unraveling like a thread from the same ribbon—twisting, pulling, and ultimately tying together a story of tension and release. Known for his ability to merge hard-hitting club energy with emotional depth, Hadone pushes his sonic identity further than ever before.
Ribbon is a testament to Hadone’s evolution as an artist—a finely tuned balance between chaos and control, structure and freedom. A soundtrack for the dancefloor and the introspective mind alike.
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Two previously unreleased gems from a Chain Reaction studio session recorded in London, in 1977 - now available back-to-back on this 7” single. ‘You Gave Me The Reason’ is a lovely modern soul uptempo dance-floor burner coupled with ‘Let’s Be Lovers’, a mellow and funky instrumental adaptation of the Holland-Dozier hit, ‘Why Can’t We Be Lovers’. By the mid-70s, former Techniques singers Bruce Ruffin, Bobby Davis and Dave Collins had established individual recording careers with The Upsetters, The Sensations, Byron Lee & The Dragonaires, and Dave & Ansel Collins amongst others, reuniting in 1975 to form Chain Reaction, a fine-tuned, first-class soul trio performing ‘inna soul style’. Produced here by industry veteran Stanley Pemberton of Congress Productions, Chain Reaction's blend of sweet vocal harmonies, funk-inflected grooves and Motownesque arrangements has long been favoured by soul collectors and beat-fiends alike.
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Four cuts of unapologetic, immediate Jungle that capture Tim Reaper’s frantic energy and Fracture’s deadly sonics — a perfect balance of aggression and detail. No holds barred, examined with a fine-tooth comb. Precision Pandemonium. Alongside the music, the collaboration extends to artwork, with each label’s iconic logo reimagined in the other’s style. This visual partnership spans the 12” label and sleeve design, as well as an extensive range of streetwear merch.
Fracture says:
I’ve known Ed for over 15 years, going back to the forum days of Subvert Central and Dogs On Acid. Even then, his approach to Jungle was authentic and compulsive. He’s stayed on that path with unwavering focus, never chasing trends—just pure, raw Jungle. What he’s built with Future Retro London is so desperately needed in this day and age: a space where music and community come first, shining a light on artists and DJs often overlooked by mainstream channels that favour gimmicks. His passion for Jungle is infectious, and I’ve always wanted to work with him so doing a full label collaboration feels completely right. Working with Ed is a real eye opener - he’s so full of ideas and the speed at which he can generate patterns is scary. Watching him fly around his laptop, chopping breaks and writing basslines is like watching a Grandmaster play speed chess—always on, never off. Shout out Tim Reaper each and every. An incredible DJ as well.
Tim Reaper says:
I think this is probably the longest ever I've spent on any release for Future Retro London, clocking in at just over 3 years of back & forth between me & Fracture in the making of this. There's a lot of backstory behind this project, so excuse my ramblings below.
The story starts with me hearing Sully playing a tune by Fracture called "Booyaka Style" which I really liked and thought would be great to release. I reached out to Fracture about it and found out later that he already made plans to include it on an album project (0860) that he was working on at the time which later came out on his label Astrophonica. He asked if I would be up for sending him any tunes to be considered for release on Astrophonica, but in response to this, I suggested a joint label project that both of us would have tunes on & he seemed keen to do it.
Few months later, I got back in touch to ask if he had done any tracks for this release but he was still busy with other things and instead sent me a track he had been working on, with the suggestion of us collaborating on it. We finished a track together that we both liked & felt as if it was a good starting point for the release. We then got a few more collabs done with a fair bit of back & forth, but upon reflection, he felt as if they could be a lot better than what they currently were and so, the release started to change in format a bit. Fracture suggested that we should meet up in his studio and work on some tunes together in person, with the aim of getting a few bits done over a bunch of sessions and getting it all sorted out in a much quicker timeline. Thankfully, this actually worked, we managed to get some collabs done that both of us are very happy with (even managing to sample a recording of Blackeye from a set from a Future Retro London event!)
Thanks to Fracture for his co-operation & perseverance with this release, helping to see it through to the end & not allowing it to be anything less than the best possible version of itself, thanks to Mark at Sequence for his role in helping with the logistics/manufacture of this release, thanks to Utile for assisting on the design on this release and most importantly, a very special thanks to all the obstacles along the way that I faced in the making of this release, which helped me appreciate getting to this point so much more than I ever could have!
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Candy Pink ltd 270 copies.
Printed sleeve with a little comics by ExpExp with inserts !
A first tune with a lost in the forest intro ^^
4 bangers of Hardtek, the pure Tribe kick and its round and round way... Small little structures for a sweet dancefloor moment and a peaceful banger feeling... ^^
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Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solar- powered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!
Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.
Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.
Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!
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Order now and we will order the item for you at our supplier.
