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Obsessed With You The Early Years' is an official release of the early X-Ray Spex demo recordings which would evolve into the celebrated pioneering 'Germ Free Adolescents' album. Also includes early versions of classic Punk pioneering debut single tracks 'Oh Bondage, Up Yours!' and 'I Am A Cliché’.

Recorded in 1977, the majority of these recordings feature original saxophonist Lora Logic and capture the raw instinctive power of the band who seemed to arrive fully formed despite their youth. The iconic vocal stylings of Poly Styrene immortalised here are even more visceral than what was recorded for the final product and further indicate just how much inspiration they lent Bikini Kill's Kathleen Hanna and the Riot Grrrls that followed. Elsewhere, an early take on 'Germ Free Adolescence' has subtle electronic influences that hint at a potential future the band didn't hang around long enough to fulfil.

This fascinating document is released in various limited edition vinyl formats. 'Day-Glo' orange or 'Day-Glo' pink vinyl with laser die-cut outer sleeve and 'Day-Glo' inserts. The sleeve design is based on original Poly Styrene artwork and brand new sleeve notes from Paul Dean and Lora Logic also feature. Also available on Compact Disc and Digital.

If you’ve been keeping your ears to the ground, chances are this won’t be your first encounter with the glistening, shape-shifting sounds of Yushh. She has spent recent years DJing across the globe and releasing a series of standout tracks and remixes, cementing her status as one of the most vital flag-bearers of the Bristol continuum.

Somehow, it has been three years since her last solo outing. Making up for lost time, we finally welcome Yushh to Timedance for a searing five-track EP, “Full Body AXY”.

Yushh’s sound resists stasis, nothing feels formulaic. Instead, each track moves with an expert sense of detail, striking a rare balance between precision and instinct, dancefloor science and raw emotion. With a natural flair, she bends low-end pressure into something airborne. Heavy sub frequencies dissolve into a feeling of weightlessness that is both physical and elusive.

How can music hit with such precision and still feel like it floats beyond the rules of gravity? Yushh answers in her own language, where tension and release blur, where sounds flicker between density and light, and where the dancefloor becomes a space for both body-centric exploration and emotional catharsis.

Celestial Echo returns with a proper UK soul classic — The Cool-Notes “I Forgot How To Love You”, back on 12” and cut loud for the dancefloor.

Hailing from South London, The Cool-Notes were one of the UK’s most consistent soul outfits through the late ’70s and ’80s. While many know them for their chart successes later in the decade, this early period shows the band in a formative state — warm basslines, tight rhythm section, rich harmonies and that unmistakable Britfunk feel.

“I Forgot How To Love You” is one of those records that’s quietly done the rounds for years. A favourite of Frederika’s back in the day, it’s about time it has it’s first ever reissue.

Presented on 12” in a clean company sleeve, this edition gives the record a new lease of life.

Celestial Echo is here to put proper soul records back into circulation — Buy or Cry

Trevor Linde returns to Harmony with his long-anticipated second EP, further refining his characteristic sound. Peripeties of Stray Intention moves effortlessly between hypnotic tension and rigid groove structures, balancing precision with raw emotional depth. Drawing from years of meticulous sound design and live performances, Trevor Linde delivers a body of work that feels both emotionally charged and physically commanding, a carefully sculpted journey at the very core of his sound.

DJ Mart presents the new Dodge compilation *Dodge with Friends*. I am very proud of this exceptional compilation. *Dodge with Friends* reflects the musical and electronic diversity of my label Dodge, which I founded in Bochum in 1995 to promote electronic music from the Ruhr region. The new Dodge compilation *Dodge with Friends* features artists who have helped shape the evolution of music on Dodge and who are my friends—some of whom haven’t been able to release music on Dodge yet because they aren’t from the Ruhr region. All 16 of these artists have made a name for themselves in their respective fields over the years. You are the future with friends *

A tasty slice of early 90s New Jersey hip-hop makes this inaugural release from Concrete Flowers a real doozy. Apache's 'Gangsta Bitch' was produced by Q-Tip and taken from his 1993 debut Apache Ain't Shit, so it is a portal back to the raw, unfiltered energy of a time when the Flavour Unit collective was at its most vital. Apache had already appeared alongside Naughty By Nature, Queen Latifah and 2Pac before this record landed and the Q-Tip production connection to A Tribe Called Quest gives it a lineage that still hits hard. The Beatnuts' 'Hit Me With That' on the flip doubles down on the era's boozy, sample-heavy swagger, making this a perfectly paired two-sider that reminds you exactly why the golden era was so golden.

Aerae returns to Annulled with a 4-tracks compilation of their evocative album 'Percussive Reverie', centered on tribal dnb / halftime rhythms. The entire collection maintains a development and exquisiteness in every note and section, enveloping you in a hypnotic and essential groove, through a collection of immersive musical compositions, each inviting the listener on a unique sonic and ritualistic journey.

Likewise "Percussive Reverie" invites listeners to connect with each composition on a profound level, creating a unique auditory landscape that lingers long after the music ends.

Aerae is a French artist characterized by her hypnotic and evocative tribal sound. Her latest vinyl release on the renowned 'Samurai Music' label, and her performances at Mostra Festival, confirm the artist's promising future and present.


Mastered by Giuseppe Tillieci at Enisslab.

Multicast Dynamics aka Samuel van Dijk presents Language of Colours. A substantial set of vibrant, cinematic tracks marking the first release on Language of Colours, a sonic imprint dedicated to conceptual electronic music. 10 tracks moving through organic ambient, reduced downtempo beats, lush soundscapes, and experimental drones. Originally released digitally in 2021, now available for the first time on vinyl.

With its second release, Fleur Sauvage stays true to its opening premise: no calculated moves, no outside logic, only work that could not reasonably exist anywhere else. Danieli has been part of the La Nature and NoName fabric for years, as co-curator, resident, and crew, one of those people whose presence shapes a space long before a set begins. This album is the natural continuation of that relationship, extended now into a more permanent form.
Where FS001 captured the charge of a live moment, FS002 turns inward. Seven studio compositions, built at a remove from the dance floor, without urgency or performance. The kind of record that needed time to be what it is.


Daniel
The B-side loosens further. Reverie does exactly what the word promises, without apology. Anew carries a quiet kind of relief, not triumphant but settled. Heavenly closes the record differently: a long, unhurried progression, organic sounds swelling and receding in waves, building toward something that never quite resolves, and doesn't need to.
Throughout, the sound is precise without being cold, textured without ornament. Ambient in the truest sense, music that holds a room, and asks nothing back.

Smoove returns with the latest instalment of his Multitrack Reworksseries, delivering two fresh, floor-ready reinterpretations of classic Rufus & Chaka Khan cuts.

On the A side, “Heaven Bound” gets the full Smoove treatment. The tempo is lifted for maximum dancefloor impact, driven by seriously funky basslines, razor-tight disco drums, and sweeping strings — all crowned by Chaka Khan’s unmistakable, breathtaking vocal performance.

Flip it over and the energy keeps rising with “Dancing For Your Love”. Crisp drums, lush orchestration, and rich soulful strings take centre stage as Smoove extends the groove into a club-focused workout. Rufus leads on vocals with Chaka Khan providing dynamic backing harmonies.

Two timeless tracks, expertly reimagined for modern dancefloors.

Artificial Go’s new 7” for Carpark Records signals the next chapter in the band’s gentle-but-rapid evolution. The Cincinnati-based rock ‘n’ roll combo dials in to their distinct sound while opening the doors wide to newness. In just two songs, they share joyous expression, frustrated anger, and curious exploration.
The 7” follows two beloved albums and loads of talked-about touring. The excitement is easy to connect with as 7” A-side “Triple Ones” spools out its coiled, bouncy lead guitar with a bass part worth following through the kitchen conga line and into the living room dancefloor. On the flipside, “Jane Ate The Apple Seed” provides a mysterious atmosphere and chorus of unusual trance.
The band’s live configuration is often so: lead vocalist Angie Willcutt, drummer Cole G Patrick, guitarist Ryan Sennett, and bassist Micah Wu. But on record, the members swap instruments and play whatever part necessary. For example, Sennett is drumming on “Jane Ate The Apple Seed,” with Patrick playing guitar, Wu on bass, and Willcutt playing an autoharp with a bow.
While the music is undeniably fun and mesmerizing, lead singer Angie Willcutt’s lyrics center serious matters. The story told in “Triple Ones” refers to a person undercut by those running the show. Willcutt calls it “the most blatantly upset Artificial Go song.” “Explain to me your delusional behavior,” she sings. “The world dealt me the cards of presumption/ I’ll play them right and use it to my advantage.” It might be groovy music, but Willcutt says, “When writing that song, I was just pissed off.”
Three of the bandmates live in the same house in Cincinnati. They practice in the basement, record in the haunted attic, and live in between. “Jane Ate The Apple Seed” started as a jam in that basement. The landlord came over to do maintenance and stayed to watch the jam become a song. Its lyrics tell the hidden story behind a well-known tale: “Jane ate the apple seed/ Johnny nowhere to be seen.”

plum is the debut solo album from josh conway, co-founder, producer and drummer of the Grammy-nominated indie-pop band The Marías.

With plum, josh steps fully into his own artistic voice, offering a more intimate and personal lens into his songwriting and expansive sonic world. Drawing from psychedelic rock, electronic music, and indie pop, the album establishes his range as an artist and the eclectic world he’s building on his own

2x GRAMMY® Award winning R&B powerhouse Kehlani releases her highly anticipated self-titled fifth studio album, KEHLANI, today on her birthday, April 24, 2026. The project captures her at her most honest, blending soul-baring storytelling with the lush, genre-bending sound that has made her one of modern R&B’s most influential voices. The album was anchored by a trio of defining singles, beginning with “Folded,” a breakout anthem that has become one of the defining R&B records of the decade. “Folded” delivered major award recognition, including 2x GRAMMY® wins for Best R&B Song and Best R&B Performance, an iHeartRadio Music Award for R&B Song of the Year (where she made her debut award show performance), NAACP Image Awards nominations, and three American Music Award nominations, including Song of the Year. The momentum continued with “Out The Window,” which further showcased Kehlani’s emotional transparency and sonic direction. Most recently, Kehlani released “Back and Forth” featuring Missy Elliott. The track pairs Kehlani’s signature vulnerability with Missy Elliott’s unmistakable innovation and energy, serving as the final preview before the album’s release. Kehlani celebrates a landmark year of cultural impact, including a surprise appearance during Giveon’s mainstage set at Coachella in addition to her solo performance at Revolve Festival. With over 20 RIAA certifications, more than 5 billion global streams, and status as a 7x GRAMMY® nominated songwriter and artist, Kehlani continues to solidify her place as one of contemporary R&B’s most essential voices. This year she was also honored at the Femme It Forward 2025 “Give Her FlowHERS” Awards Gala, receiving the Alchemist Award, and recognized as an ASCAP Women Behind the Music Honoree. Kehlani will also be honored with the Impact Award at the upcoming Billboard Women in Music, where she will deliver a special performance in celebration of her influence on music and culture. Kehlani will bring the album to global stages with upcoming festival performances at Essence Festival, Afronation Portugal, Roots Picnic, and more

An introspective journey led to the recovery of five tracks that form Unearthed Forms: The new 12” EP by Gent1e $oul & Finally Julius on Fast Castle. Focused on rhythm, texture, and low-end pressure, the record is built around contrasts between organic movement, sharp percussive design, and fluid, broken rhythmic sections.

The A-side opens with Pantanal, a slow-building, humid groove driven by deep sub pressure and layered percussion. Obsidian Arrows introduces a tighter, more direct energy, a modern fast-paced dub stepper with future-facing sound design. Spore Inscription shifts into more evolving patterns, where rhythmic elements gradually reorganise and reconfigure over time.

On the B-side, Where liquid forgets to flow breaks away from steady structure, moving into unstable, shifting rhythm work and loose timing. The closing track Bloom Archive brings things back into a warmer, more open space, with smoother textures and a slower, more continuous flow that feels reflective rather than resolved.

Across five tracks, the EP moves between dub-weighted bass systems, broken beat influence, and techno-focused arrangement — keeping a strong focus on physical low-end and detailed percussion throughout.

In the seclusion of a house in the Bavarian Forest, something unfolded that felt less like a conventional album production and more like an internal process of condensation. This house wasn’t a studio - it was a retreat. Its 1960s-inspired interiors, creaking wooden stairs, and crackling fireplace shaped the sound of Carl Gari as much as the instruments themselves. Though the house no longer exists, its atmosphere remains present in the recordings.


The music of Carl Gari - Jonas Yamer, Till Funke, and Jonas Friedlich - resists easy categorization, a trait that continues on this monumental new album. From the friction between electronic music and guitar textures, the trio forges a distinctive, idiosyncratic sound. Distorted electric guitars and pulsating basslines intertwine with analog drum machines, tape delays, and intricate effect chains, creating music that is raw, organic, and psychedelic. A new element on the album is the trio’s first use of vocals: Jonas Yamer, usually on bass, raises his voice in a punk-tinged, invented language that hints rather than narrates, unsettling more than it explains.


The guest artists do not merely decorate the sound - they alter its very structure at critical points. Polygonia contributes layered vocals that mesh seamlessly with the album’s technoid architecture. Will Brooks of Dälek delivers a dark rap feature on ‘Poison Shyness (Anti-Social)’, his words carving the sonic space with precision. Coby Sey adds introspective vocals that hover between experimentation and restraint on ‘Inner Link’. New York rap pioneer Sensational introduces a deliberately rough, individual counterpoint on ‘Disco Lights’, while the German percussionist Simon Popp drives the album forward with an uncompromising drum performance that insists rather than accompanies on ‘Zeitesser’.


The cover photographs, taken by Jonas Yamer, project images of corridors onto paintings located in the now demolished house where the album was recorded. Visually, this reflects a key motif of the album: spaces exist only as overlays and echoes - not mystical ghosts, but traces of a place that has physically vanished.

Recorded between 2016-2024 in Neunburg vorm Wald and Munich. With kind support by Kulturreferat der Landeshauptstadt München.
Mixed by Johannes Wagner aka J.Manuel at Apollo Studio, Berlin (A1, D1 w/ Fadi Mohem). Mastered & cut by Stefan Betke at Scape Mastering.
Photography by Jonas Yamer. Packaging design by Sepehr Mokhtarzadeh.

Night at the Opera’, the EP by Emei, on Red Marble vinyl. The 1LP, single pocket jacket includes a 10x8 print and 12x24 poster.

A little drama never hurt anybody. Emei knows how to bring it too. With a bold voice that’s as vibrant as her personality, the New Jersey-born Chinese-American songstress delivers clever and catchy anthems meant to be blasted out loud. Emei made major waves with 2022’s “Late to the Party,” surging on TikTok and igniting her End of an Era EP.

However, she reached critical mass with the release of her single, Scatterbrain. Touted as one of Spotify’s “Best Pop Songs of 2023,” the title track eclipsed 71 million Spotify streams followed by “Irresponsible” with 31 million Spotify streams. OnesToWatch christened her, “one of the most promising alt-pop artists to watch.” Plus, she has incited the applause of Billboard, People, Wonderland., and Lyrical Lemonade in addition to BBC Radio 1 in the UK and Triple J in Australia.

Spotify handpicked her as one of Pop Rising’s “Artists To Watch” for 2024. After gathering over a quarter-of-a-billion streams, selling out shows, and attracting multi-GRAMMY® Award-winning mega-producer Ricky Reed to her corner, she embraces her theatricality on her Night At The Opera EP

Open the doors of perception with 'Alchemy of Being,' a deep ambient exploration inspired by Jungian analysis, olfactory meditations and psycho-nautic navigations.

Dublab resident, LA-based DJ and producer Dor Wand invites us to practice ‘deactivation through music:’ a softening art he describes as guiding energy down gently, so the body can rest, the heart can open, and the mind can return to stillness. The album creates a space where movement turns inward, where rhythm becomes breath, and where sound holds us as we land.

A mix of mellow synths, live harp and tuned percussion, the album oscillates softly between tension and relaxation, a harmonizing journey that gradually brings together mind and body, inhale and exhale, a unifying yogic tool for heightened self-understanding.

Holen Sie sich das bahnbrechende Album „Wheels Of Fire“ – so wie Sie es noch nie gehört haben! Entdecken
Sie die verschollenen Aufnahmen und die neu zusammengestellten Raritäten-Sammlungen. Erhältlich als
3-LP-„In The Studio Expanded Edition“ mit 26 unveröffentlichten Aufnahmen und als 5-CD-„Super Deluxe
Edition“ mit 37 unveröffentlichten Aufnahmen sowie einem 24-seitigen Hardcover-Buch.
Die „WHEELS OF FIRE 5CD SUPER DELUXE EDITION“ dokumentiert die gesamte Entstehungsgeschichte
und die Fertigstellung von Creams bahnbrechendem dritten Album.
Das Set enthält eine spezielle, neu remastered Stereo-Version des neunten Titels umfassenden Studio-Teils
von „Wheels Of Fire“. Ursprünglich 1968 unter Verwendung von CSG-bearbeiteten Aufnahmen veröffentlicht wurde, diese remastered Version präsentiert, von CSG befreite Version das Album nun phasenkorrigiert und liefert die Aufnahmen mit größerer Detailtreue und einem klaren Klangbild.
Ebenfalls enthalten ist eine neu zusammengestellte Raritäten-Sammlung mit 15 seltenen Aufnahmen, von
denen neun Tracks bisher unveröffentlicht sind. Diese Sammlung umfasst frühe Versionen, alternative
Mixe und Single-Versionen. Zu den Highlights zählen „WHITE ROOM (EARLY VERSION MONO MIX)“,
„DESERTED CITIES OF THE HEART (MONO ROUGH MIX / NO STRINGS)“ und „CROSSROADS
(MONO SINGLE VERSION)“ sowie sieben weitere alternative Stereo- und Mono-Mixe, drei Single Versionen und zwei seltene Live-Aufnahmen.
Abgerundet wird das Set durch ein Hardcover-Buch mit Begleittexten von Jim Faber und Fotos von Cream
aus dieser Zeit. Die fünf CDs befinden sich in einer Gatefold-Hülle und sind zusammen mit dem Buch in
einem stabilen Schuber mit silberner Laminierung untergebracht.
Creams bahnbrechendes drittes Album wird in dieser speziellen 3LP-Erweiterungsausgabe von WHEELS
OF FIRE: IN THE STUDIO dokumentiert.
Das 3LP-Set enthält eine neu remastered Stereoversion des neun Titel umfassenden Studioanteils von
Wheels Of Fire. Ursprünglich 1968 unter Verwendung von CSG-bearbeiteten Aufnahmen veröffentlicht,
präsentiert diese neu remastered, von CSG befreite Version das Album nun phasenkorrigiert und liefert die
Aufnahmen mit größerer Detailtreue und einem klaren Klangbild.
Ebenfalls enthalten ist eine neu remastered Mono-Version des Studioalbums. Diese Mono-Version, die aus
den persönlichen Referenzbändern des verstorbenen Cream-Produzenten Felix Pappalardi stammt, wurde
noch nie zuvor veröffentlicht.
Das Set enthält außerdem eine neu zusammengestellte Raritäten-Sammlung mit 11 seltenen Aufnahmen,
von denen acht bisher unveröffentlicht sind. Dazu gehören frühe Versionen, alternative Mixe und Single-Versionen. Zu den Höhepunkten dieser Sammlung zählen WHITE ROOM (EARLY VERSION MONO MIX)
und DESERTED CITIES OF THE HEART (MONO ROUGH MIX / NO STRINGS) sowie sechs weitere
alternative Stereo- und Mono-Mixe.
Diese Veröffentlichung auf 180 g schwerem schwarzem Vinyl wird in einem Gatefold-Cover mit metallischem
Pantone-Finish präsentiert

Justin K Broadrick (GODFLESH) and Mick Harris (Napalm Death) drop militant, hard techno on split LP.

New album doubles the track count (and runtime) of the duo's last collab.

Stalwart Birmingham, UK innovators Justin K Broadrick and Mick Harris have connected again as JK FLESH and MONRELLA to deliver the warehouse-destroying hard techno LP SHOUTING THE ODDS, five years after their last EP, SEE RED.

Featuring four tracks from each artist, SHOUTING THE ODDS invokes both the feeling of listening to late night pirate radio and sweating in a darkened warehouse as the rafters shake, complete with the perfect amount of analog wow and flutter. Brimming with gnarled, unrelenting kicks hovering between 130–140bpm, the split format deftly showcases both artist's individual strengths, while displaying undeniable commonality.

Broadrick's side leans traditional hard techno, filled with mesmerizing, minimal synth arpeggios and contrasting toplines, all aligned and maligned by shrewd transitions. Harris' section presents more experimental and house influences, using bright, distorted synth hits and a touch of forlorn melody. The tracks take on a life of their own through expert use of filters and just the right amount of delay, stutter, and glitch.

Never before has an album filled with such shining, shimmering synths been so black and threatening. JK FLESH and MONRELLA have hard techno down to a science.

“No-nonsense old school flavoured techno bangers. We're flying the flag for outsider techno." - Justin K Broadrick

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.

Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival. The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies. Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss.

This tension between connection and inevitability sits at the center of Carve. Some of the album’s songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world. Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself. Kathryn Mohr’s previous effort “Waiting Room” received the coveted ‘Best New Music' designation and a score of 8.4 from Pitchfork.

Few artists arrive as compellingly yet elusively as did Stuart Moxham upon the startling debut of Young Marble Giant's sole studio album, Colossal Youth. Initial excitement was thrust upon the young Alison Statton, who sang songs written by Stuart with a couple of exceptions. The unaffected tone of her voice was in steep contrast to the typical goings-on in that still quite punky time, but it was what she sang that fully sold it. Moxham's lyrics were both intensely personal and woefully oblique. There seemed to be a sort of story in there. Confusingly, that story often felt like it was Alison's rather than the fellow who'd penned it. The unexpected miracle a deal with Rough Trade and the album's subsequent success had the band stymied for a second act and it wasn't long before the group disintegrated, although circumstances often brought members and a few of their peers - among them Debbie Pritchard, Spike Williams, and a third Moxham brother, Drew. - Phil Moxham was the band's bassist - together in odd combinations and pairings. None of the three YMG members have been especially prolific, but it's Stuart's career that has seemed the least straightforward, as if he'd wondered, "What to do when your debut is a nearly perfect artefact?" In the case of his first "solo" full-length in thirty years, Stuart took the unusual step of entering an alien studio with American producer Dave Trumfio (who's also the leader of Pulsars and bassist for Mekons) and allowing him to decide what tracks (of a large number submitted by Stuart) to record, and how they'd be orchestrated. Or not. In this case - save for the writing and composing - it's really Dave's album as much as Stuart's. The tracks went with Dave back to LA, where they were mixed, a few parts added (including subtle backing vocals from the incredible Linda Smith) . . . then later unmixed and reworked by John Henderson and Roni Ayala back in Valencia. Both versions will be made available, and both have a compelling cohesion missing from some of Stuart's work since YMG. Stuart's minimalism is quite intact, the range of emotions quite wide. There are few artists operating today like Stuart Moxham, a composer of the upper echelon of innate talent who combines avant-garde ideas with deceptively forthright personal lyrics, solid hooks, ambience and vaguely off-centre instrumentation which defies the casual marketplace as confoundingly as it ever did to the underground, whatever that is these days. His songs have been admired and / covered by everyone from Lush to Kurt Cobain, adaptations in Japanese and even a French-language hit by Etienne Daho, adaptations by Hole, Galaxie 500, Magnetic Fields, Belle And Sebastian and many others - but a new Stuart Moxham album is a special kind of joy.

Als MONO ihr vorheriges Album OATH 2023 gemeinsam mit ihrem langjährigen Produktionspartner und Freund Steve Albini aufgenommen hatten, konnten sie sich nicht vorstellen, dass es das letzte Studioalbum sein würde, das sie zusammen machten. Albini starb im darauffolgenden Jahr tragisch, und dieser Verlust hinterließ eine unermessliche Leerstelle - nicht nur im Leben all jener, die Steve persönlich kannten, sondern bei jedem, der eine emotionale Verbindung zu einem der Tausenden von Alben hat, an deren Entstehung er in den vergangenen vier Jahrzehnten beteiligt war. Er brachte Klarheit in das Chaos und eine selbstlose Hingabe an die Kunst und die Künstler, die ihresgleichen suchte. Auf persönlicher wie auf praktischer Ebene stellte sein Tod MONO vor tiefe Trauer und große Unsicherheit. Albini war zu einem grundlegenden Bestandteil des unverwechselbaren MONO-Sounds geworden, und allein der Gedanke daran, ihn ersetzen zu müssen, war mehr als entmutigend.Und dann kam: Brad Wood (Touché Amoré, The Smashing Pumpkins).Ausgewählt aufgrund seiner Vertrautheit mit MONOs kreativen und technischen Arbeitsprozessen - ebenso wie seiner jahrzehntelangen Freundschaft mit Steve Albini - betrat Brad Wood im September 2025 das legendäre Electrical Audio Studio, um aufzunehmen, was schließlich zu Snowdrop werden sollte. Gemeinsam mit dem in Chicago ansässigen Dirigenten und Orchesterleiter Chad McCullough verpflichteten MONO ein zehnköpfiges Orchester und einen achtköpfigen Chor für die acht monumentalen Stücke, aus denen Snowdrop besteht. Die Band spielte, und Wood nahm in demselben heiligen Raum auf, in dem die meisten MONO-Alben ihrer 25-jährigen Geschichte entstanden waren - die Songs auf Snowdrop tragen daher ein besonderes Gewicht. Abgemischt wurde das Album von Wood in seinem Seagrass-Home-Studio in Los Angeles; es klingt zugleich intim und umhüllend.Wo leicht ein Schatten über Snowdrop hätte liegen können, findet sich stattdessen eine außergewöhnliche Atmosphäre der Dankbarkeit. Statt in Herzschmerz zu verweilen, entsteht eine eindringliche Wertschätzung für das gut gelebte Leben mit einem geliebten Freund - und eine Sehnsucht danach, was noch kommen mag. Snowdrop ist der Klang einer Band, die Schock und Trauer in Hoffnung und Staunen verwandelt - und neue Klarheit im befreienden Gefühl des Nichtwissens findet.

Als MONO ihr vorheriges Album OATH 2023 gemeinsam mit ihrem langjährigen Produktionspartner und Freund Steve Albini aufgenommen hatten, konnten sie sich nicht vorstellen, dass es das letzte Studioalbum sein würde, das sie zusammen machten. Albini starb im darauffolgenden Jahr tragisch, und dieser Verlust hinterließ eine unermessliche Leerstelle - nicht nur im Leben all jener, die Steve persönlich kannten, sondern bei jedem, der eine emotionale Verbindung zu einem der Tausenden von Alben hat, an deren Entstehung er in den vergangenen vier Jahrzehnten beteiligt war. Er brachte Klarheit in das Chaos und eine selbstlose Hingabe an die Kunst und die Künstler, die ihresgleichen suchte. Auf persönlicher wie auf praktischer Ebene stellte sein Tod MONO vor tiefe Trauer und große Unsicherheit. Albini war zu einem grundlegenden Bestandteil des unverwechselbaren MONO-Sounds geworden, und allein der Gedanke daran, ihn ersetzen zu müssen, war mehr als entmutigend.Und dann kam: Brad Wood (Touché Amoré, The Smashing Pumpkins).Ausgewählt aufgrund seiner Vertrautheit mit MONOs kreativen und technischen Arbeitsprozessen - ebenso wie seiner jahrzehntelangen Freundschaft mit Steve Albini - betrat Brad Wood im September 2025 das legendäre Electrical Audio Studio, um aufzunehmen, was schließlich zu Snowdrop werden sollte. Gemeinsam mit dem in Chicago ansässigen Dirigenten und Orchesterleiter Chad McCullough verpflichteten MONO ein zehnköpfiges Orchester und einen achtköpfigen Chor für die acht monumentalen Stücke, aus denen Snowdrop besteht. Die Band spielte, und Wood nahm in demselben heiligen Raum auf, in dem die meisten MONO-Alben ihrer 25-jährigen Geschichte entstanden waren - die Songs auf Snowdrop tragen daher ein besonderes Gewicht. Abgemischt wurde das Album von Wood in seinem Seagrass-Home-Studio in Los Angeles; es klingt zugleich intim und umhüllend.Wo leicht ein Schatten über Snowdrop hätte liegen können, findet sich stattdessen eine außergewöhnliche Atmosphäre der Dankbarkeit. Statt in Herzschmerz zu verweilen, entsteht eine eindringliche Wertschätzung für das gut gelebte Leben mit einem geliebten Freund - und eine Sehnsucht danach, was noch kommen mag. Snowdrop ist der Klang einer Band, die Schock und Trauer in Hoffnung und Staunen verwandelt - und neue Klarheit im befreienden Gefühl des Nichtwissens findet.

Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.

Label founder DJ Scientist tells the story of how the tracks were uncovered:

"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.

Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)

Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.

Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"

To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.

When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.

The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!

Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.

The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.

The vinyl edition is limited to 400 copies.

Nach den kurz nacheinander erschienenen Alben ,Everything Must Go" und ,Chain Yer Dragon" im Jahr 2025 kehren Goose mit ,BIG MODERN!" zurück - einem energiegeladenen neuen Kapitel, das den charakteristischen Indie-Rock-Sound der Band um neonbeleuchtete Synthesizer, treibende Rhythmen und mitreißende, hymnische Hooks erweitert. Neue Tracks wie ,Good2B" und ,Good Times // End Times" erscheinen neben den Fan-Favoriten ,Big Modern" und ,Torero" und fangen den Abenteuergeist von Goose ein, während sie gleichzeitig einige ihrer bisher kühnsten und dynamischsten Studioaufnahmen liefern.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

VA – Paradisi Artificiali brings together four distinct sound compositions, each resisting the urge to resemble the others but united by the way they manipulate perception.
Polygonia crafts shifting rhythmic paths where the groove warps and regenerates in real time, maintaining an organic tension that keeps the body in motion without ever truly settling into place.
Feral operates through subtraction, slowing time and excavating sound’s spatial depth. Its tracks don’t progress so much as they envelop, drawing the listener inward into a layered, introspective space.
Agonis introduces a more unstable, sensory thread, weaving transitions and accumulations that build in stages. Frequencies become tangible matter, and the progression unfolds without ever erupting entirely.
Crossing Avenue weaves these directions together without hardening them, infusing the record with a more rooted, almost ancestral rhythmic element that surfaces in the structure of the patterns and the choice of timbre.
The result isn’t a neat synthesis, but a coexistence. The tracks unfold along a shared line without ever converging, articulating a dynamic balance between tension and release. It’s an album that works through gradual alterations, through subtle slippages in perception, as in “Les Paradis Artificiels”. The point isn’t escape, but intensification. The sound burrows deep, reshaping how things are experienced, until a denser, more ambiguous, more alive reality emerges.

‘Richness of tone; precision of articulation; ingenuity of timbre that, when Akinmusire pursues microtonal avenues, creates the sense that particular sounds are almost hermetically sealed before being slowly squeezed and pinched into the air. In other words there is a high degree of technical mastery, but, tellingly, it underpins a profound and often engrossing sense of narrative.’ - Jazzwise

‘Halvorson has formulated a guitar style with few precedents. One inspiration might be the painter George Seurat, whose Impressionist paintings of a hundred isolated dots cohere into a picture if one steps back from the canvas. Halvorson’s pointillist approach to the guitar works much the same way.’ - JazzTimes

Slo-Mo Neon Luminate Hoverings, the new album by trumpeter/composer Ambrose Akinmusire and guitarist/composer Mary Halvorson, features four new compositions by each musician as well as one collaboration. The duo, long admirers of each other’s musicianship, met at Halvorson’s Brooklyn apartment and began playing together periodically, going back as far as 2009. They rehearsed the music on Slo-Mo Neon Luminate Hoverings in January 2025, just before performing it at the New York City club The Stone; they recorded this album the next day at Sear Sound.

Akinmusire and Halvorson made two previous attempts at recording an album but felt that they got it right with this third session. Halvorson says of their rapport, which developed over those years of friendship and collaboration, “I think it’s partly a shared aesthetic and an ease of communication. I feel comfortable to try whatever.” Akinmusire concurs, “I think it’s rare to find an improviser that all goes and nothing has to go at all. It’s rare to feel like you don’t have to do anything and you can do anything. And that’s what I love about playing with Mary.”

Though Halvorson regularly uses effects pedals on her guitar, Akinmusire’s use of one on Slo-Mo Neon Luminate Hoverings is new. Having recently gotten an updated model of the Line 6, Halvorson was passing her old ones along to friends. “Ambrose was interested in trying a Line Six. I gave him one five minutes before the rehearsal and was amazed how quickly he was able to do incredible shit on it ... in literally five minutes,” she says.

“But I’ve been watching you, I’ve been watching Bill Frisell and other people use it for a long time,” Akinmusire says. “I approached it as if it were its own musician. I played and it would process the sound and then I would choose to react to that or not. The people like Mary that I love to listen to who use delay, I like being able to hear the process of the texture that’s being built. With some people, when they use it, you don’t really hear it. But with Mary, she’ll play a line and then she’ll react to that line and then react to that,” he continues. “It’s really cool to hear how something is being built. So I kind of stole that.”

Halvorson says, “I’ve never seen someone pick up a pedal and then immediately do something with it that felt like, ‘Oh, this is a sound,’ as opposed to just tinkering, you know? It felt like he was making music on it right away, and then also doing things that surprised me, like the vocalizing really surprised me. I wasn’t expecting that, and it was awesome.”

“L’École de la nuit” marks Versatile Records’ 30th anniversary with a musical découpage by label founder Gilb’R. The album’s 12 songs and numerous collaborations form an adroit exploration of life and music, all threaded together by lifelong “partner in crime” I:Cube’s signature mixdowns.

“Hà mar” represents the peak of the album’s organic spectrum—an instantly captivating melodic and percussive Brazilian song featuring Alvaro Lancellotti on guitar and vocals—while “White Light” serves as its electronic counterpart, with a classic pop feel, featuring Swedish singer Monica Tormell

Musically, “L’École de la nuit” moves across many different landscapes and languages, intersecting rock, shoegaze, ambient, electronica, and, of course, jazz. Gilb’R collaborates with a rich arsenal of guest musicians: saxophonist Quentin Rollet; guitarist and producer Maxime Delpierre; French artist Judah Warsky, with whom Gilb’R previously released an album; Jonny Nash, producer and guitarist; as well as Ben Shemie. Not least, father and son Julio and Julinho Pimentel contribute their distinctive percussion, alongside François Creamer on bass clarinet.

“L’École de la nuit” is the 50th album release on Versatile Records. It was initiated in Amsterdam, then entirely reimagined and rebuilt in Paris. It stands as a manifesto for the album format and a tribute to the listener.

For The Bobby Lees, their fourth album and Epitaph debut New Self marks a thrilling new chapter for the band while doubling down on what"s always made them so magnetic. The Bobby Lees don"t need much in the way of introduction. Within a few seconds of exposure to their furnace-blast live shows or their bottled-lightning studio records, it"s easy to hear why they"ve earned fans in legendary musicians like Iggy Pop, Debbie Harry, and Henry Rollins. They"re as uncompromising in their sound and generous with their energy as any of their punk ancestors who first rewrote the rules of engagement back in the 1970s. Led by singer and guitarist Sam Quartin, drummer Macky Bowman, and bassist Kendall Wind, The Bobby Lees bring wildness and danger back into punk rock. You can hear the band easing into a new confidence -- one that"s both looser and more towering -- all throughout New Self, from the seething, fiery "Napoleon" to the rambunctious, offbeat take on PJ Harvey"s "50ft Queenie." This is the sound of a band who"s scrambled over shaky ground only to come back stronger than ever: more confident, more connected, louder and fiercer and secure in their own skin.

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Ricardo Villalobos runs wild on Mohammad Reza Mortazavi’s Persian tombak hand drum actions, expanding a 4 min kernel of inspiration into 24 minutes of mesmerising polyrhythmic traction. From an original ‘Swamp’’ piece that practically recalls Ricardo’s style of slinky minimal techno sorcery to begin with, the Chilean-German maverick derives a more driving tract of rough hewn rhythmic grit bound to hypnotise ‘floors for the duration. Accentuating the undulating bass and dialling up the volume whilst retaining the frictional grind of the original, Villalobos gets right inside the groove with typically obsessive tekkerz, plucking out additional string
motifs and tempering the flow with signature, taut but sinuous, loosey goosey flex that cross-pollinates cultures and gets right under the skin of the thing.

Ricardo Villalobos (b. 1970, Chile) is a pioneering figure in minimal techno, celebrated for his hypnotic and groovy approach to rhythm. Raised in Germany after his family fled Pinochet’s regime, Villalobos was drawn early to percussion - he began playing congas and bongos at eleven, developing a tactile relationship to rhythm that would later inform his distinctive production style. Immersed in both Latin American folk traditions and the emerging house and techno scenes of late-80s Europe, he began DJing and producing in the early 1990s, quickly achieving cult status within global club culture. Mohammad Reza Mortazavi (b. 1979, Iran) is a virtuoso percussionist known for his groundbreaking work with the tombak and daf, traditional Persian drums that he has radically redefined through new playing techniques. Mortazavi began playing the tombak at the age of six. By nine, he had already outpaced his teacher and won Iran’s national tombak competition - a distinction he would earn six more times. By his early twenties, he was widely regarded as one of the foremost players of the instruments. Since then, his music has continued to evolve, embracing new forms beyond tradition.

The fourth instalment in the Hutson Sevens 7‑inch series finds Home of the Good Groove Records taking a slight detour away from the vaults of unreleased material this time, but back to a pivotal moment in LeRoy Hutson’s creative journey.

Fear not: more unheard gems are on the horizon. But for this chapter, the label rewinds to 1994, a year that marked a meaningful renaissance for the soul legend.

After years of legal battles and persistence, Hutson finally reclaimed partial ownership of his catalogue in 1989 — a hard‑won victory that opened the door to a new era. Though celebrated as a musician, composer, lyricist and performer, the world of publishing was uncharted territory for the musical legend. By 1994, Hutson stepped confidently into that new chapter, signing his first licensing agreement with a Japanese label and publisher.

From that landmark agreement come two recordings now making their debut on 7‑inch vinyl, presented with the care and reverence they deserve.

The A‑side brings us “Lucky Fellow (’94 Mix)”, a track with a storied lineage. First recorded by Maurice Jackson in 1971, it became one of Hutson’s signature moments when he released it on his 1975 album Hutson — a version that remains a fan favourite to this day.

Nearly two decades later, Hutson returned to the studio to revisit the song once more, applying his unmistakable production finesse to craft a fresh, radiant mix. Initially released in Japan on Lucky Fellow: The Best Vol. 2 and then later resurfacing on a Deepbeats Hutson compilation album in 1997.

Now, for the first time, this ’94 version arrives on 7‑inch vinyl — a lovingly curated snapshot of Hutson’s evolution, and a reminder of just how timeless his artistry remains.

Hutson’s “Lucky Fellow” gets a striking reimagining here, trading the warmth of the original for a brighter, crisp production, lifting the melody into sharper focus. While the added vocal riffs don’t just embellish the track — they give it a fresh, expressive identity.

Think of “Lucky Fellow (94 Mix)” as the cool cousin who shows up uninvited and immediately steals the spotlight. It tightens the groove, brightens the melody, and sprinkles in a handful of sly vocal riffs that flip the familiar tune into something delightful and freshly polished.


The flip side of this release digs a little deeper into Hutson’s 1994 chapter, bringing the track “Reality” to the 7‑inch format for the very first time — a moment many collectors and soul devotees have been waiting on.

Originally recorded in 1982, the track spent twelve quiet years on the shelf before finally surfacing on a 1994 P‑Vine CD Hutson compilation. It reappeared twice again on CD throughout the following years and made its first vinyl appearance on a Deepbeats Hutson compilation in 1998.

Nearly two decades later, in 2017, French record label Saph Records reintroduced the track to a new wave of listeners as part of its Unreleased Boogie Tracks 12‑inch series, cementing somewhat of a cult status among Hutson boogie fans.

Cut during the sessions for Hutson’s Paradise era, “Reality” carries the unmistakable sheen of early‑’80s soul — a buoyant, melodic groove wrapped in Huston’s recognisable warmth.
Now freshly remastered in 2026 by UK’s Phil Ward, the track gains an added depth and clarity that enhances its rhythmic glide without losing its vintage charm.
It’s a notable moment in Hutson’s catalogue and a killer selection to finally receive the 7‑inch treatment — a long‑overdue spotlight for a track that has spent far too long in the 7-inch shadows.

DJ Support: Rocky, Yogi Haughton, Nick Welton, Chris Sweet - Northern Soul Rave Patrol, Dean Smith, Dave Hill

'Ghosted Edits Vol 2' the emphasis has been on the less obvious. 'Two Wings' on the initial 'Ghosted Edits' was a superb disco jaunt, whilst 'Follow Him' opted for a swaying jolly down groove with a nice soulful sound. If you dug 'Follow Him' I can guarantee that 'Save The Children' and 'Beautiful People' will be essential purchases for all you disc jockey types, and those of you who jus' like vibes that you can melt into a chair with or sip on yer long drink and spectate from the side of the dancefloor as the DJ builds the room. A stroke of genius from Moton too as they opt to release this latest couple of jams on a seven, and we all know how much the soul boys and gals love a seven.

Widely regarded as Romeo's finest work, the album is a landmark of roots reggae, combining political commentary, Rastafarian themes and Perry's distinctive dub production style. Released on Island Records, the album reflects the social and political turmoil of mid-1970s Jamaica, addressing poverty, violence, and oppression.

The record features nine tracks, including some of Romeo's most enduring songs such as "One Step Forward," "War Ina Babylon," and "Chase the Devil,".

War Ina Babylon is often grouped with other Black Ark productions as part of a celebrated trio of reggae albums from the era, and it remains one of the most acclaimed and influential releases in the genre.

What changed between Av. General Roçadas and Junkeira? Seven years in people's lives — yet the team's commitment remains untouched, and the steady hand on the plumb line that keeps dance music (still) upright holds firm. Years of sustained research and field work from both producers, with their own records, mutually independent and independent too in how they brought them to life. Moreno Ácido has been navigating detours through a conceptual yet grounded underground — in sound and in format (two self-released cassettes since 2019) — while keeping one eye on the floor. His post pandemic reawakening carries a clear message: Call to Action is the label that in 2023 put the still-in-demand Trash/Treasure out on vinyl. Diogo keeps Discos Extendes as his shelter, gathering talent and retreating into it. At the same time, a disseminating vocation — that talent turned outward, on a mission to champion the different sensibilities that can converge in music made for dancing.

Junkeira is direct. It hides nothing in its intent, nor does it conceal the origin of its love, nor the way it exercises its fascination with the source. Geography can define movements, described and echoed countless times outside and then inside the net. The signifiers are known to all — it's a matter of applying them with respect and flow. Perhaps the craft in this production really does come down to love, when it comes to it. What is "WTF" if not a declaration of love — at the very least of closeness — to the sonic essence of the English rave? The piano stab, the breaks defining that hardcore state of mind, the string bed lifting feet off the floor. Closing out the EP, "Freak" gathers different emotions — eyes still shut, body in comedown while still moving. Chill. Everything rounded. Bassline, vibes, vocals woven into the rhythm.

Rewinding, the opening track "100 Planos" is a throwback to Roçadas (2019) — harder on the ground, with a 4/4 beat broken up by claps, a circular structure built for DJs, with mix-friendly entry and exit points. Then "Turbo Love" puts the keys in control, foregrounding them, letting a car alarm ring out and balance the beat — a reverential nod to UK Garage felt as raw material, already part of the lineage that has been the continuous evolution from Disco onwards: an evolution that traces a line and its branches, from which you can isolate any chronological point since at least 1977 and combine whatever elements form a personality. The spirit lives, as summer kicks in.

Biz has some serious techno credentials, having landed on esteemed labels like Transmat and Acquit Records before now, and here he is back on his Subjekt label with a third outing in his limited series. This is cerebral techno steeped in Detroit style but looking to the future. 'No Pain, No Gain' is awash with crystalline pads over a surging groove, 'Monozukuri' gets more prickly with metallic percussive textures and a forlorn lead. 'Manipulate' unhinges from reality with trippy synth cascades that remind of 8bit video games and the flip then has a more introverted sound across three minimalistic, deep rhythmic excursions.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

The second in a series of releases from Digi Dub’s archives, this 10” serves, as the title suggests, as a tribute to the late, great Julian Fairshare.

On the A-side, Julian vocalises, in his unique style, his crazy finger flicking lyrics over a slinky Digidub riddim that was always a favourite on his sound system. Repent, the (only) slightly more traditional flipside, finds him commenting on the politricks and lies of those in charge, asking them to change their ways, with backing vocals by Helen Macdonald.

A true rasta with firm principles and a heart of gold, Julian was brought up by his Windrush generation parents in a Brixton house that hosted blues parties, and as a result became deeply involved in sound system culture from an early age. For years he ran the Fairshare Unity Sound, working with people from all cultures and walks of life, always maintaining an inclusive attitude while also favouring the more experimental side of dub. In later years he used the name ‘Unruly Julian’, which suited him somehow.

He toured widely around Europe and was one of the first to take a roots and culture sound system to the USSR. Nearer to home he played regularly on the London underground scene, which is where Lee Digidub and Julian first met, leading to a steady supply of dubplates for his sound. On a memorable visit to the studio, Julian announced that he wanted to voice a dub that Lee was working on, which led to them releasing I Scream and No Way on David Records.

“Sadly missed, it’s such a shame that the great man isn’t here to enjoy this release in person, but it’s wonderful that people get a chance to listen to Julian Fairshare: a unique vocalist, soundman and mentor to so many” Lee Digidub Berwick

After more than a year and a half of consistent output, KYSH returns to vinyl with its second physical release. Following a streak of four VA compilations, nine solo EPs and a strong debut on wax, the label keeps its momentum — expanding its roster while refining a distinct, contemporary techno identity shaped by both emerging names and established forces. KYSH-002 brings together four artists representing different shades of the current sound. Opening track “Activ” sees SEIGG return shortly after his solo EP, delivering a signature glitch-driven banger with a powerful, instantly recognizable hook. Alarico follows with “Tears”, building emotional tension through his characteristic chopped vocal work and driving arrangement. On the flipside, Fenim0re’s “My Last Descent” shifts into a more restrained, hypnotic territory — a minimal yet groovy tool with a strong sense of forward motion. Closing comes from Toobris with “Zawyeh”, a low-end focused cut recalling early 2000s minimal techno aesthetics, reimagined with increased, modern pace. With KYSH-002, the label solidifies its presence on wax — delivering a focused, high-impact selection from some of the most vivid voices in modern techno.