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In 1979, Neil Fraser (artistically known as Mad Professor) founded Ariwa Sounds, the longest-serving and one of the most influential independently owned Reggae studios and record labels in the UK. From humble beginnings set up in the front room of Neil's home in South London recording on 4-track and homemade equipment, Ariwa would go on to record and release over 300 albums including works from some of the most impactful and storied artists of their time in the genres of Reggae, Dub, and Lovers Rock

Whilst our previous release in collaboration with Ariwa captured the label's early sound, a shared performance with Neil in Osaka and regular visits to his South London studio inspired us to assemble this 15-track compilation, showcasing the label's output across 45 years. Our release emphasizes some of the label's greatest vocalists: Johnny Clarke, Sandra Cross, Kofi, U Roy, Sister Nancy, Queen Omega, Aisha, Garnett Cross, Abel Miller, Horace Andy and more — presenting the Motown and Stax influences in the Lovers Rock, but also provides a glimpse into the dubbier and more experimental side of the label, showcasing Ariwa's commitment to quality but also their personality, philosophy and their humour. Love songs, break-up songs, socially engaged songs, dub experimentations — this compilation is not a "best of" Ariwa but a diverse and honest celebration of the label through the lens of Melodies International.

The compilation will be out in July in vinyl 2xLP, CD, digital formats, mastered from the original tapes by Frank Merritt (the Carvery), pressed at Optimal, artwork created by Jason Evans with design and assembly contributions from Nevil Bernard and Will Sweeney, animated teaser by Nevil Bernard and Melozine designed by Mafalda Meireles.

Following his previous appearances on Figure, French producer Arkan returns with Mad Race, a four-track EP that further sharpens his distinct vision of mental techno. Balancing hypnotic restraint with driving intensity, the release finds the artist navigating deeper into textured, immersive territory while maintaining a strong sense of propulsion throughout.

The title track Mad Race opens the record in forceful fashion, locking into a tightly wound groove as restless synth movements and looming atmospheres continuously build pressure around the rhythm section. Revival follows with a more spacious approach, letting emotive chords and swelling layers unfold gradually over a firm, rolling foundation, capturing a feeling of momentum suspended somewhere between tension and release.

On the flipside, Sawlim pushes further into trippy terrain. Dense percussion and spiralling effects interact with pulsing low-end pressure to create a heads-down club tool filled with subtle movement and detail. Closing track Interlude shifts the focus once more, exploring a more restrained and introspective mood through cavernous textures and hypnotic repetition while still holding onto the EP's underlying drive.

Digital bonus track Make You Horny rounds out the package with a rawer and more playful energy, bringing punchy drums and jagged synth work together into a functional late-night workout.

With Mad Race, Arkan continues refining his own blend of deep, atmospheric and cerebral techno, further cementing his place within the evolving sound of Figure.

Zum ersten Mal seit Jahrzehnten erscheinen DJ Shadows legendäre Mo’Wax-Singles wieder offiziell – in einem umfassenden 8-teiligen Vinyl-Set, das mehrere Stunden bahnbrechender Musik enthält.
Die Aufnahmen wurden in den Abbey Road Studios von Miles Showell halbspeed-remastered und klingen so klar und kraftvoll wie nie zuvor. Die Box enthält zahlreiche bisher unveröffentlichte Mixe und Edits sowie eine exklusive Bonus-LP mit den ursprünglichen Demos von vier Tracks – ein einzigartiger Einblick in die Entstehungsgeschichte des Shadow-Sounds.
Abgerundet wird das Set durch neue Fotografien von Brian Cross (B+), DJ Shadows langjährigem visuellen Wegbegleiter.
Ein essenzielles Sammlerstück für Fans, Vinyl-Liebhaber und alle, die die Wurzeln moderner Beat-Kultur feiern wollen.

"This box wasn’t made for the casual listener,it was made with the hardcore fan in mind. I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was
made with this philosophy firmly in mind. I had fun locating and resurrecting these songs, some of which still feel close to my consciousness as though they were made yesterday.”
-DJ Shadow

Originally released in 1981 on the New Jersey-based Debbie Label, Sweet Magic is the one and only album by Lee McDonald. Produced by Ron Foster -
best known as a member of Ecstasy, Passion & Pain—the album is widely regarded as a standout modern soul classic, covering everything from uplifting
Philly-style dancers to sweet and mellow slow jams.

The album also features superb arrangements that update well-known classics into vibrant Philly soul, including The Carpenters’ smash hit “We’ve Only Just
Begun” and Ecstasy, Passion & Pain’s “I’ll Do Anything For You.” This reissue is pressed on limited yellow-colored vinyl inspired by the album’s iconic
illustrated sleeve, long cherished by rare groove collectors.

Unheard Music returns with its second release, delivering a hypnotic and club-driven Tech House package by Malandra Jr. and pizzaaftersex.
Built around the infectious pull of Your Retreat, this EP captures that late-night tension where groove, atmosphere, and repetition lock into one fluid movement. The original mix sets the tone with a stripped yet emotionally charged framework, balancing rolling percussion, subtle pressure, and a strong sense of floor-focused depth.

2026 Repress

&Me, the chunky critter, did it again! This hypnotic one-off was stoically crafted to be lifted into the next dimension with thousands of people. Where the hospitality of all-encompassing love and euphoria awaits with arms raised and eyes closed.

Mano le tough found the original Muddy Funster so boring that he ran out of cigarettes. Even as a non-smoker! With his congenial version of this evergreens, this deranged pig forces his cranky perception on us and takes us into a mystical world in which no two stones are alike, but whose unique construction represents an earthquake-proof pyramid of love whose dimensions have perfect relationships to the size of the earth and to mathematical laws. Illumination feat Roísín Murphy as Mano Le Toughs needs A Birra Light Remix persistently pulls us music-loving dance muffins under the disco ball with all the TikiTaka tricks in the book, only to let us go and spin gloriously free at the crucial moment. So beautiful, we dance, wow.

Harry Romero, Brothers Macklovitch, and Austin Ato team up on Rekids.

Harry Romero and Austin Ato return to Rekids alongside the debuting Brothers Macklovitch, aka A-Trak and Dave 1, with the ‘The Corner’ EP, arriving 5th June 2026. Romero has more than two decades of house pedigree behind him, continuing to refi ne a signature sound rooted in expert drum work and undeniable attitude. With a catalogue spanning seminal imprints from Nu Groove to Classic Recordings and Defected, the Bambossa Records boss builds on his 2025 debut with ‘Nice To Meet You’, once again showcasing his knack for balancing functional, floor-ready grooves with rich musical character.

Joining Harry Romero are Brothers Maklovitch, consisting of legendary turntablist A-Trak alongside his brother, David “Dave 1” Maklovitch of Chromeo, bringing decades of experience across the electronic spectrum, alongside versatile Scottish producer Austin Ato, who previously contributed to Oliver Dollar’s 2025 album on Radio Slave’s Rekids imprint.

Harry Romero, Brothers Macklovitch, and Austin Ato’s ‘The Corner’ (Piano Mix) opens the release, a warm and energetic house cut driven by bold, bouncy drums and jazzy melodic touches, as lively guitar licks and rolling piano lines inject an uplifting, expressive feel primed for the dancefloor. The ‘Deep In Jersey Dub’ follows, maintaining the heat with a more stripped-back approach, where filters and breakdowns build tension before a punchy drop, with teased-out guitars adding to its dynamic impact.

Vincenzo De Bull follows up his initial 4 Kicks EP with a truly fitting set of 4 smooth grooves on Kicks 4 Life EP.

Kicking off the A Side is the energetic bass workout of The Jaunt. Driving mix of filtered loops and persistent bass carry this along with accented punctuation courtesy of trippy oscillating vocals, pianos before it’s all brought home post-break with a lovely pad driving more tension to add to the effortless progression. B2, Make It Smooth will contain some recognizable elements for most of the selectors out there, before the cut develops into a new context which will immediately remove your previous associations and make way for a fun, new groove – we don’t have to tell you, but Vincenzo does a superb job of ‘Making it smooth.’

Flip to the B Side for smooth R&B style house vibes courtesy of Move Your Body, an ethereal workout grounded by a solid low and a tugging looped groove, interspersed with enough energy via vocals to keep the floor engaged and moving, but at a lower energy level. Perfect to move into later nights. Tatsuro Lovers rounds out the EP with a midtempo chugger perfect for starting the evening, groovy pool parties or just sitting at home, enveloped in the heady, swirling vibes underpinned by crisp drums and deep low end.

Berlin lo-fi crooner Der Assistent returns with "Ultramarin", a sun-faded suite of soft-focus pop, Balearic grooves and late-night yacht moods drifting between languages, moods and references – slightly surreal, and quietly melancholic.
Following the tropical haze of its predecessor "Amnesie am Amazonas", his third album makes a slightly bigger splash: classic late-80s digital pianos, downbeat grooves and flashes of dub-reggae intertwine with subtle soprano and alto saxophone lines that drift between lounge melancholy and nocturnal jazz.
Laid-back opening cut “Wenn der Scirocco weht” pays homage to Japanese lovers rock, while the dubby downbeat title track celebrates the color blue in French, English, Italian and German, echoing situationist slogans and painter Yves Klein’s idea of “the invisible becoming visible.” Lead single “Mann am Telefon” dives into hazy yacht-pop and lo-fi soul, gradually unfolding into an instrumental outro that recalls the early synth romanticism of Vangelis.
Across the album, Der Assistent traces a playful tale of split personalities – with subtle nods to Fight Club and Blade Runner – culminating in the lush closing 80s R&B ballad “Total Confusion”.

Written, recorded, produced and mixed entirely by Der Assistent, Ultramarin also inaugurates his new imprint of the same name.
RIYL: Fishmans, Eddie Chacon, The Zenmenn.

Around 1970, musician, music producer, and entrepreneur Fernando Arias founded the record label Discos Fernando Arias (Difa) in Lima, the capital of Peru. This label was crucial for the musical production, promotion, dissemination, and development of Peruvian tropical music; more specifically, the so-called “carretero style”, so named because it was rooted in the famous Central Highway (Carretera Central) of Peru, which crosses the country from west to east, from the coast to the jungle, through the Andes mountain range. This style is defined by sudden changes from ballad to fast and aggressive tropical music, with electric guitar lines drenched in fuzztone, reverb, and wah-wah. To this must be added the plaintive, melancholic vocal style characteristic of Andean Peruvian music.

"SABLE, fABLE" ist das fünfte Album des Projekts von Justin Vernon und enthält eine Liebesgeschichte, die mit üppiger, strahlender Popmusik unterlegt ist. Während das Album mit der verletzlichen Entlastung der im vorangegangenen Herbst erschienenen "SABLE," EP beginnt, geht das Triptychon nahtlos in eine neue, neunsongige Saga über, in der aus einer Person zwei werden, Dunkelheit sich in lachsfarbene Schönheit verwandelt und Traurigkeit in unbändige Freude umschlägt. Während SABLE eine karge und einsame Abrechnung mit einem Schmerz ist, der lange die Vergangenheit bestimmte, blickt fABLE in eine lebendige Zukunft voller Licht, Sinn und Möglichkeiten. "SABLE, fABLE" wurde von Justin Vernon und Jim-E Stack produziert und hauptsächlich in Vernons April Base in Wisconsin aufgenommen, nachdem das Studio während einer Renovierung jahrelang still lag. Das Konzept für das Album entstand am 22.2.22, als Stack mit Danielle Haim dort eintraf. Mehrere Tage lang eingeschneit, vereinten sich Vernons und Haims Stimmen auf "If Only I Could Wait", einem Duett mit entscheidender Perspektive, in dem es darum geht, dass man nicht die Kraft hat, die beste Version von sich selbst außerhalb des Glühens einer neuen Liebe zu sein. Wenn SABLE der Prolog war, ein Prolog in der Dunkelheit, eine kontrollierte Verbrennung, die den Weg für neue Möglichkeiten ebnet, dann ist fABLE das Buch, das folgt. Wo SABLE, ein Werk der Einsamkeit war, ist fABLE eine ausgestreckte Hand. Strahlende, verschnörkelte Popmusik umspielt Vernons Stimme, während er sich auf eine neue und schöne Ära konzentriert. Bei jedem Lied sind seine Augen auf eine bestimmte Person gerichtet. Es ist Liebe, was bedeutet, dass in fABLE eine intensive Klarheit, Konzentration und Ehrlichkeit herrscht. Es ist das Porträt eines Mannes, der von dieser ersten Begegnung überflutet und überwältigt ist ("Everything Is Peaceful Love"). Es ist ein Tableau, das von Sex und unbändigem Verlangen geprägt ist ("Walk Home"). Ein Mann, voller Licht und Tatendrang, der eine ganze Zukunft vor sich sieht. Verliebtheit hat etwas unbestreitbar Heilendes an sich, und die intensive Klarheit, Konzentration, Ehrlichkeit und Feierlichkeit, die sie in diese Songs bringt. Doch der Schatten von SABLE liegt noch immer in der Luft, und alte Gefühle können zurückkehren, selbst wenn man sich die Mühe gemacht hat, neu anzufangen. Wie in einer Fabel vermittelt jeder Track eine Lektion, und in fABLE geht es um den selbstlosen Rhythmus, der erforderlich ist, wenn man mit einer anderen Person verstrickt ist. Der vorletzte Song - und im weiteren Sinne das ganze Album - ist ein Versprechen. Er ist bereit, diesen Rhythmus zu finden.

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

Anthony Hüseyin presents their new album O Geliyor (Making O), in which they return to the rediscovery of their gender, their childhood, and their attachment to Zeki Müren.

Müren is widely regarded as the most important queer exponent in the history of Turkish Art Music (Türk Sanat Müzigi). This genre of music was open to musical hybridism, and Müren himself also included elements of jazz and pop music.
Stylistically, O Geliyor (Making O) is a combination of contemporary discoid electro-pop music, based on Turkish Art Music by Zeki Müren. After successful current re-interpretations of Turkish music styles like neo-Anatolian pop and neo-Arabesk, this album provides a first take on neo-Turkish Art Music.

The album title is referring to the third genderless person pronoun in Turkish called "O", which encompasses all gender possibilities in one word. The album reflects on the memories that haunt us and the indescribable wounds of displacement. Set against the backdrop of Berlin, home to many immigrants and political and queer refugees, it exposes the profound emptiness in a metropolis wishing to imagine itself as a safe haven for the free-spirited, yet always reminding the Other that they don't belong. At the same time, it delivers anthems for the displaced, for the queer migrants who traverse internal and external landscapes in search of a place called home.

Anthony Hüseyin is a non-binary musician and performance artist of Kurdish-Turkish and Arabic descent who works with voice, text, film, dance, and installation. Raised in Urfa in Southeastern Turkey, where they learned traditional local music, they went on to study both classical and jazz singing in Istanbul and Rotterdam. Their works combine the personal and political to explore memory, identity, community, collective consciousness, and the body.

Zum 80. Geburtstag von Fancy erscheint 2026 ein ganz besonderes Highlight für alle Fans: die „80th Birthday Fan Box“. Anlässlich dieses außergewöhnlichen Jubiläums veröffentlicht ZYX Music eine streng limitierte Sammlerbox, die die größten Momente der Karriere des Kultstars vereint.

Die exklusive Fan Box enthält eine hochwertige Auswahl aus CDs, Maxi-Singles und LPs und bietet damit ein einzigartiges Musikerlebnis für Liebhaber des legendären 80er-Sounds.

Mit seinen internationalen Hits und seinem unverwechselbaren Stil prägte Fancy die Disco- und Synthpop-Ära wie kaum ein anderer Künstler.

Die „80th Birthday Fan Box“ ist ein echtes Sammlerstück und ein absolutes Must-have für die große Fancy-Fangemeinde.

Eine nostalgische Reise durch Jahrzehnte voller Kult-Hits – liebevoll zusammengestellt für treue Fans und Musikliebhaber

Eine Italo Disco Rarität aus dem Jahre 1987 jetzt wieder als farbige 12“ Maxi Single erhältlich:

Lee Young - Napoleon

Zusätzlich zu den raren Original Versionen, gibt es als Highlight auf Seite B zwei neue und exklusive Remixe von Flemming Dalum und F. Ricci

RESERVA ESPECIAL: MALACO (S4R62)
A new volume in the Reserva Especial series, this time dedicated to Malaco
Records.
It features a previously unreleased song by The Unemployed, a semiknown track by Chad (originally available only on CD), an obscure cut by
The Right Combination, and a dancefloor delight by Eddie Floyd, released
for the first time on 45 rpm.

(*Previously unreleased)

Two lost cuts from the orbit of Tony Humphries surface at last, pulled straight from acetates in his private archive and pressed here for the first time. Unearthed like messages from the booth itself, they capture that raw, transitional moment when club music was still inventing its own language night after night.
On the A-side, Kerri Chandler with “Kerri Kaoz Beats”, a stripped, swinging tool full of basement pressure and early-morning intent. No excess, no compromise, just Kerri doing what Kerri does best. Flip it over for Dee Dee Brave – “My My Lover (Tony Humphries Dub)”, a previously unheard Humphries reconstruction that stretches the vocal into something deeper, moodier and unmistakably floor-ready. Spacious, patient, and quietly euphoric.
Two pieces of house history that never made it past the acetate stage until now. Not revisions, not edits, but originals finally stepping into the light. Essential documents from the roots that still point forward.

Originally released on Umor Rex on cassette a year ago, “El Sol de los Muertos” deeply shaped the evolution and vision of Mexican producer Concepción Huerta’s sonic work, becoming a reference point for a kind of experimental sound deeply connected to Latin American critical thought. This is the second album in a series of four special, limited reissues to be released in 2026 to mark the 20th anniversary of Umor Rex.

Crafted entirely through subharmonic structures and tape manipulation, “El Sol de los Muertos” stands as Concepción Huerta’s most abrasive and emotionally charged work to date, rooted in drone, musique concrète, and visceral textures. The album reflects on dispossession, extraction, and colonialism, while connecting deeply with Latin American critical thought and Indigenous resistance across the region. Inspired in part by Eduardo Galeano’s work, it is not a manifesto, but an invitation to reflection, memory, and vigilance against the enduring forms of fascism and colonialism.



Recorded by Concepción Huerta in 2024 between Berlin, The Hague, and Mexico City. Original master and remastered for vinyl by Rafael Anton Irisarri at Black Knoll Studio, New York. Volcano photography by Magaly Ugarte. Design by Daniel Castrejón in Mexico City.

Dub-Stuy continues its one-riddim series with Punchliner riddim, an original production crafted by DJ Madd, returning on beatmaking duty since his 2021 relick of the classic Answer Riddim. Driven by syncopated rhythms and a rolling bassline, this new addition to the series provides the perfect backdrop for three standout cuts from an international cast of vocalists.

The late Nazamba offers "Thief," a powerful social commentary in the tradition of dub poets like Linton Kwesi Johnson. UK-based Ras Demo showcases his versatility with "Lyrical Designer," while Spanish vocalist Lasai unleashes rub-a-dub energy on "The Punchliner." An instrumental version is also included.

Nicola Conte and Nico Lahs’ Tema Due project finally comes to full realization in a double LP entitled “Universo Astratto”,adding a wealth of new musical shades and ideas to the two EPs released on Schema Records in 2025. The albumrepresents not only the natural evolution of their artistic dialogue, but also a statement of intent in terms of sound.Fans of the most sophisticated and refined club music, elevated by the fusion of exquisite electronica with spiritual jazz (it isno coincidence that the opening track evokes the baseline of “A Love Supreme”), African-American rhythms and tribalpercussion, will be thrilled by this complex and multi-layered album, which unveils new hidden details upon each listen.A meticulous selection of exceptional musicians contributes in a distinctive and significant way to broadening the scope ofthe project: Giovanni Guidi, Pietro Lussu, and Dario Bassolino on keyboards, Gabriel Prado and Abdissa Assefa onpercussion, Magnus Lindgren on wind instruments and Hammond organ, and Pasquale Calò on saxophone. On vocals wehave Lalin St. Juste, Siya Makuzeni, Nina Miranda - for what is probably the best track on the album, “Share Your Love”- and Toco - for a new and previously unreleased version of the track “Macumba de Oxalà” featured on the first EP.In “Universo Astratto”, Tema Due’s vision is finally fulfilled: a world of ancestral grooves, cosmic jazz, and electronic musicconceived for clubs as a type of “active experience” in which one is transcended by music. This record is an invitation—tomove, to feel, to elevate—and a manifesto for those who see the dance floor not just as a location, but as a shared experience of awareness and rhythm

Vor zehn Jahren gründeten drei Mitarbeiter von JI's Market and Cafe die Band Styrofoam Winos. Lou Turner, Trevor Nikrant und Joe Kenkel fanden zueinander durch ihre gemeinsame Begeisterung für Bob Dylan, Patti Smith, Leonard Cohen und Country-Platten aus dem Schnäppchenkorb. Sie beflügelten sich gegenseitig in ihrer Begeisterung und waren total aus dem Häuschen bei jedem neuen Song, den sie entdeckten. Nachdem ein Freund weggezogen war und ein Schlagzeug zurückgelassen hatte, lernten alle drei Winos, Schlagzeug zu spielen. Die ersten Versuche im gemeinsamen Songwriting entstanden aus Jam-Sessions und Erasure Poetry, bei der man Wörter in alten Büchern schwärzte, um neue Gedichte zu schaffen. Sie sangen alle mal die Leadstimme und tauschten regelmäßig die Instrumente. Michael Hurley zum ersten Mal zu sehen, hinterließ einen bleibenden Eindruck und gab der Band einen ihrer kreativen Leitsterne. Jahre später gab Snock den Winos selbst seinen Segen, ihre Kassette mit Coverversionen seiner Songs zu veröffentlichen. Die Styrofoam Winos sind immer mit dem Strom geschwommen, was ,Any River" zu einem passenden Titel für ihr neues Album macht, dem Nachfolger von ,Real Time" aus dem Jahr 2024. Ihre spielerische Herangehensweise wird durch das Können erfahrener Musiker untermauert, die bereits viele hundert Konzerte gespielt haben - sowohl gemeinsam als auch als Tourmitglieder von Ryan Davis and the Roadhouse Band, MJ Lenderman and the Wind und als Solokünstler. Das ist eine ihrer größten Stärken, die man gar nicht hoch genug einschätzen kann: Sie sind extrem gute Musiker! Wenn drei talentierte Menschen eine so tiefe Chemie entwickeln, ist das Ergebnis einfach grandios. Jeder Song auf ,Any River" entstand aus Jam-Sessions in Turners und Nikrants Heimstudio, und schon bald folgte ein gemeinsames Google-Dokument mit den Texten. Sie nahmen in Louisville auf - ihr erstes Album außerhalb von Nashville - zusammen mit Roadhouse-Bandkollege und Equipment Pointed Ankh-Mastermind Jim Marlowe. Marlowes zurückhaltende Produktion brachte die einzigartige Synergie der Band voll zur Geltung. Das führt zu einem weiteren wesentlichen Punkt dieser Band. Es gelingt ihnen, eine perfekte Balance zwischen Ehrfurcht und Respektlosigkeit gegenüber den musikalischen Traditionen zu finden, in denen sie arbeiten. Ihr Wissen über den Kanon ist gelehrt, aber diesem Wissen folgt immer ein Augenzwinkern. Kein Moment auf der Platte verkörpert dies besser als das Trompetensolo in ,New Friend". Es ist eine geschickte Darbietung, aber die Art und Weise, wie Kenkel unter die Tonika absinkt, bevor er die letzten Noten des Solos auflöst, ist urkomisch. Bei Live-Auftritten spielt er das Solo Note für Note auf einer Kazoo, während er gleichzeitig Schlagzeug spielt. Diese Musik stammt von erfahrenen Verwandlungskünstlern, die sich einer einfachen Kategorisierung entziehen und dennoch sofort wiedererkennbar bleiben.

One of the true, undisputed pioneers of Dutch techno, Steve Rachmad appears on Dekmantel for an EP of peerless machine music. On the 3-6-9 EP, the artist also known as Sterac, Parallel 9 and many other names plies a powerful trade in funked up, gritty and soulful techno made the proper way.

The connection between Rachmad and Dekmantel reaches back many years via his frequent appearances at the Dekmantel Festival — he has two performances at the 2026 edition as well as sets at Dekmantel Selectors lined up later in the summer. The 3-6-9 EP lands ahead of an album and world tour that marks 45 years in service to electronic music, nodding to Rachmad's earliest roots in electro funk through to his day-one embrace of house and techno as it made its way across the Atlantic from Chicago and Detroit.

There's a rowdy, rave-spirited energy to the synth hook bucking its way through the centre of '3 Creation Energy', coming on in brassy tones laced with artful distortion while the drums dutifully jack the way they ought to. There's a more linear, pressure cooker quality to the tidal filter work guiding '6 Physical Manifestation' to its own energetic peaks, while '9 Completion and Delivery' surfs on coursing waves of arpeggiated lead lines before breaking through to the oceanic calm of grandiose pad tones.

There's no mystery to unpick here — this is quite simply techno perfection made with the instinct and experience of a master of the form, whose life is synonymous with every inch of the culture.

Der Soundtrack zur irischen Komödie ""The Spin"" (2024) in der Regie von Michael Head, der zahlreiche Auszeichnungen bei diversen unabhängigen Filmfestivals von Belfast über Chicago bis Toronto gewann und auch auf dem Filmfest Bremen lief. Die Originalmusik wurde von Mark McCausland (McKowski) komponiert und produziert und enthält Gastbeiträge von: Howe Gelb, Jolie Holland, John Parish, Nick Power, Dave Murphy, Pieta Brown, Dead Goat, Steve Wickham, Gemma Doherty, Laura McFadden, Brenock O’Connor und Drew McConnell. Die LP erscheint auf farbigem Ecomix-Vinyl, bei der jedes Format ein Unikat ist.

Fresh from a run of must-check EPs on Syncrophone Recordings, Black Jazz Consortium man Fred Peterkin inaugurates a new label, Base. The New York-based producer appears to be the man at the helm, since his next scheduled release also appears on the freshly minited imprint. He begins with 'There & Back (Long Player)', a languid, mid-tempo chunk of string-laden deep house classiness, before opting for a breezier, dreamier and sunnier sound on the impeccable 'Something For The Road'. Peterkin's ability to fuse looseness, heaviness and subtly soul-flecked instrumentation comes to the fore on EP highlight 'Rhythm & Movement', while 'BTA10711 (4am Mix)' tiptoes the fine line between dubby deep house and spacey, far-sighted futurism.

An inspired link up between UK and continental producers - yeah, in your face, Brexiteers - as Brit talent and Crayon boss Mark Ambrose joins forces with Spanish duo Serious Cut aka Raul Zapata and Ivan Martinez, across four irresistible cuts. 'Remedy' nods its head subtly to the Diana Ross (and then Associates) classic 'Love Hangover' while enchanted, spacious and spacey grooves do their thing, while the cherry on top of 'Deep Track' proves to be some neat sci-fi spoken word, not to mention the kind of soft, jazzy chords that Global Communication's house productions used to revel in. Flip it over for the more electroid 'Talk Box' and the unashamedly Windy City-referencing 'Auto Level. Four sides of a classic sound, three great producers, two sides of top vinyl and one must buy bit of vinyl.

Winding Road Records are proud to present the “Last Disco on Earth EP” from the ever-elusive group of “Mar De Novo” which is M & N, Paraiso and Yse Saint Laur’ant. First up on this EP is the title track ‘Last Disco on Earth’ is a monster slab of modern disco. Fat grooves, cheeky melodies and cool glitchy production. Uplifting, positive and energetic - guaranteed to put a smile on the dancefloor. Next up is ‘Over There’ is a twisted slice of bass-heavy undulating house, punctuated by crazy interludes and samples that fly in from nowhere. Starting things off on the B side is ‘Uncanny Valley’ is a sun-kissed downtempo groover, with dreamy strings and wonderful chilled musicality. Following on from that is ‘Reflection’ exudes space, peace, and calm. Guitars and piano intertwine alongside haunting vocals. Soundtrack bliss. Summer vibes. Finally rounding off the EP is ‘Find Love’ rounds off the package with a dreamy balearic sunset vibe.

‘Perfect We Are Not’ the latest track from Soulwax, emerges directly from the band’s recent Abbey Road After Hours project - a unique collaboration with the iconic London studio that saw Soulwax take over the building for a series of recording sessions and a landmark live event.

Working across Abbey Road’s historic spaces - from Studio Three, to Studio Two, to Studio One - the band used all three rooms as a continuous creative environment, moving fluidly between them in pursuit of new material. It was within these sessions that ‘Perfect We Are Not’ was written and recorded with their full live band (including three drummers).

The track was cut using the studio’s vast array of analogue equipment before being pressed direct to vinyl and played as the opening moment of their 2manydjs set inside Studio One

Now released as a standalone single, ‘Perfect We Are Not’ carries that immediacy forward — a driving, full-bodied track that reflects the band’s instinctive, performance-led approach in the studio, and will also be released as a limited edition 12” via DEEWEE.

2023 Repress

Dennis Brown has always been cited as Jamaica's favourite singer.
While Bob Marley set out to conquer the world, Dennis's popularity on the island grew with every year.
His most prolific period is said to be with producer Niney the Observer,who led the singer down a more Roots avenue.He put Dennis on some of his heaviest rhythms.
Throwing also into the pot the fact that these rhythms were also to be mixed by the Dubmaster himself King Tubby we are bound to get one of the best Dub albums around.
Here is where the Crown Prince of Reggae Meets Niney the Observer at King Tubbys.
It's from this period that we have focused on and it's these tracks that were taken to King Tubby's studio to produce this stunning album.
Hope you enjoy the set.......






G a7 | COME AGAIN DUB

J b2 | WOLF AND LEOPARDS DUB

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

PURE GARAGE RETURNS WITH A CAREFULLY CURATED SELECTION OF COLLECTIBLE CLASSICS.

Pure Garage, the best-selling UKG compilation of all time, returns with a fresh stack of high value collectible classics on DJ friendly vinyl.

With a host of gold & platinum selling compilation albums under it’s belt, plus countless sold out events across the UK, Pure Garage is known and trusted by both hard-nosed purists & the casual listener.

This latest foray coincides with an incredible resurgence in interest for the UK Garage sound, bringing together 8 high collectible infectiously funky cuts, spread across a DJ Friendly 2 slices of vinyl.

Pure Garage Collectible Classics Volume 1 opens with Buggin Me by garage pioneer Zed Bias alongside Al Brown, a groovy bassline, funky beats and a great vocal hook combine perfectly to showcase the mighty Zed Bias at his funky best.

Set It Off, by Chris Mack / Flavour, is a truly collectible record. Originally only available on vinyl as a limited white label press, copies of Set It Off have been trading hands on sites such as Discogs for as much as £130… It’s worth buying this compilation purely to get hold of this track on vinyl!

Another track that is going for big money on reseller sites is Romantic 2001 by DJ Deller. With this minimal 2 step riddim having sold for up to £120. This is definitely one for the collectors.

Funkaholics aka Jeremy Sylvester rounds off the first piece of vinyl on this album with the bass heavy Down 2 Da Ground.

Vinyl 2 kicks off with the sing-a-long classic from 1998, Anthill Mobs’s track Don’t Leave Me, followed hotly by the speed garage sounds of Body Grooving by M.F. Project.

Finally, Deep Impact drops My Fantasy followed up with a regular name of the Pure Garage live event line ups, Scott Garcia drops his soulful club classic Music Takes You, rounding out an impressive batch of tracks representing everything exciting about the UK Garage genre.

PURE GARAGE COLLECTIBLE CLASSICS VOL 1 will be released on double vinyl 16th December 2022!

STAR TREK: STRANGE NEW WORLDS is based on the years Captain Christopher Pike manned the helm of the U.S.S. Enterprise. The series will feature fan favorites from season two of STAR TREK: DISCOVERY: Anson Mount as Captain Christopher Pike, Rebecca Romijn as Number One and Ethan Peck as Science Officer Spock, and follows Captain Pike, Science Officer Spock and Number One in the years before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy. Drivers: * Focus track scored written, produced and conducted by Emmy Award winner, and 3 time nominee, Jeff Russo (The Man Who Fell To Earth, Legion, Fargo, Oslo, The Night Of, Umbrella Academy, Altered Carbon, Star Trek: Discovery, Short Treks, Strange & New Worlds, Picard series, Love & Death) * Jeff is a founder, lead guitarist and songwriter of 2x Grammy Award nominated, multi platinum rock band, Tonic. * Russo's main theme is a modern adaptation of Alexander Courage's original Star Trek theme, and includes a theremin as a way to foreshadow Courage's vocal arrangement of the theme. * Tracks taken for Season 2, episode 9, titled, Subspace Rhapsody

“Onomatopeikoa II” follows on from Irazoki's 2017 Gitarra Onomatopeikoa release, and that album's sense of untethered, questing curiosity is not only carried over but expanded upon even further here. Combining a fully committed approach to the guitar with an almost egoless lightness of touch, this album builds upon the already impressively scopious range of Gitarra Onomatopeikoa to dizzying effect.

Irazoki makes full use of an impressively broad palette. Yet nothing feels forced, nothing is for show – there’s just a sense of open-hearted generosity.

In lesser hands such a whirlwind tour of style and form might risk failing to get its hooks in deep enough, yet not only does Irazoki have the imaginative scope to tackle these varying approaches to the instrument, he has the technical chops to pull it off. Each composition seems to have an openness of intent that is utterly disarming; all cards are on the table and nothing is held back, resulting in a creative tour de force that builds, piece by piece, to a unifying cohesiveness that makes the whole far greater than the sum of its parts.

Featuring contributions from long-time OTO favourites Rhodri Davies and Raphael Roginski,

“Onomatopeikoa II” is nevertheless unmistakably a work of singular craft and vision.

FFO: Jeff Parker, Loren Connors, Keiji Haino

Limited edition vinyl of 250 copies

presented by Hegoa with a cover designed by Pablo Mirón.

Demilitarize follows Nazar’s remarkable 2020 debut Guerrilla, which reprocessed Angolan kuduro music with rough textures, field recordings and media clips, telling a personal story of the civil war that exiled his family to Europe, while his father, a rebel General, fought a losing battle in the jungle back home. After Guerrilla, and an extended period of serious illness, now Demilitarize is motivated by a reckoning with mortality and the flowering of new love, turning the ‘rough kuduro’ of Guerrilla inside out.This is a deep sound world, genuinely dreamy, the arc of the album describing shedding the armour of trauma and surrendering to this new situation. A constant and unexpected aspect of Demilitarize is Nazar's gentle, submerged vocal. Insistent and mantra-like, it’s like a cross between Elisabeth Frazer, Arthur Russell and Frank Ocean, and the music is fragile and opaque in response. The rhythms of kuduro are still here,but move around his voice like fish around a swimmer, while precise sound design illuminates from different angles. Chords spiral, ripple and shoot through the beats giving tracks the loosest of settings; songs disassemble; vocals float off-centre.

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

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

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

2026 Repress

Artwork and Typography by Stefan Marx

We are very happy to welcome Lb Honne from Switzerland to the Smallville circle, bringing a superb 4-tracker for the special dancefloors. Including a full Cover Artwork by Stefan Marx.

DJ Support: Luke Una, Darryn Jones, Red Greg, Gilles Peterson, Patrick Forge

The second EP in the set from the dynamic duo themselves, The Mighty Zaf and Linkwood. 2 more killer edits to devastate the more headsy dancefloors.
Limited stock of these early copies. Act fast.

Night is about to fall, the day slowly fades away, and it is this twilight time that Magda Drozd’s latest album inhabits. Divided by Dusk carries the promise of a crepuscular otherworldliness. Inspired by Drozd’s stays in Japan, its rich tradition in ambient and experimental music and a collaboration with Japanese flutist Rai Tateishi, as well as a renewed engagement with her roots in Poland and its folk and ancient history, her work is a form of sonic excavation. Layers of dark-ambient tones intertwine with field recordings, textured violin, and luminous folk motifs, invoking long-gone, unspecified rituals.

The album freely interprets traditional folklore, unleashing those ghosts of past cultures we inherit through music that has been passed down to us. Paired with experimental ambient sonic textures, the album carries a magnificent, wandering, melancholic air. The compositions take on an incantatory dimension, welcoming us into a liminal world—one filled with buried treasures.

Over a decade has passed since this 12" was released, and it has truly aged like fine wine. This release features 2 timeless cuts from the mind and soul of cv313 mixed and recorded near the heart of Detroit. This was beautifully remastered by dub innovator and pioneer, Stefan Betke POLE @ scape mastering in Berlin, DE. The recordings were pulled from the session masters conducted by Bazza @ Alchemy Mastering in London to ensure a perfectly balanced mix and preserving the soul and spirit of the original tape masters while focusing on enriching every finite detail. While listening to these remasters you can feel the analog warmth of the original tape recordings, with a low end rumble in a way only POLE could pull off! On the A side we have cv313's classic "Lost Sequence" culled from the celebrated Japan exclusive "live" double CD album released back in 2009. On the B side there's a rare live version performed by intrusion at a loft event put on by the good folks over @ Little White Earbuds. This rare recording was reduced and stripped down, core traces of the original swim inside oceanic bass and modulated high end frequencies creating an atmosphere all of its own. This is one for the heads and a true lesson in space and bass!

Never before heard tunes from the heart of Manchester circa 1989. The lost demos of the band that was Joanna, recorded at iconic Strawberry and Pentagon Studios were discovered in a Manchester apartment loft after 35 years on the shelf. For fans of The Stone Roses, Happy Mondays and Charlatans. With the release of Hello Flower, Joanna is no longer “the most popular band without a record out,” as NME called them in 1990, but their singular spirit is now available for anyone who wants a taste.