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Disco 5 is the latest instalment of Pet Shop Boys’ continuing ‘Disco’ album series, which started in 1986. The 12-track collection features ten Pet Shop Boys’ recent remixes of songs by artists including Noel Gallagher's High Flying Birds, Primal Scream, Paul Weller, Tina Turner, Claptone, Wolfgang Tillmans and more, as well as a remix of their own track ‘Dreamland’ featuring Olly Alexander.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

“Coming To You Love” is a classic and ever popular jazz funk and soul release from 1980. From its original release, the LP and 12” versions have dominated, this 7” version only recently coming to light as a different take on the track with a bonus Charles Earland organ solo. Since the realization of its existence, the previously styrene only US Columbia 7” has exchanged hands for increasingly higher amounts.
Charles came from Philadelphia, played sax first with Jimmy McGriff before turning to organ in the late 60s and earning a nickname ‘The Mighty Burner’
During his time at Mercury records he scored a hit song with the disco record “Let The Music Play”, building an audience with a jazz funk and soul crowd which exists to this day through numerous other releases on Mercury and then Columbia through to his passing in 1999.

LTF began as a 90s b-boy who was raised on funk and hip-hop before he even knew the names of the music he was hearing. Under the influence of early greats like DJ Shadow, Beat Junkies and Cut Chemist, he dove into turntablism and spun breaks across Siberia while digging for records. Once he discovered the sampler, his world shifted to loops, chops, basslines and scratches. His debut project Dapdown earned local buzz and global connections, including France's Black Milk Music crew, and a decade ago, while armed with Soviet synths, double bass, and dusty vinyl, he dropped his first solo album, Light The Fuse. It's truly raw, expressive, beat-lover's soul with a heavy groove that has been remastered for this reissue via Tunes Delivery.

Discotchari is delighted to release a first-of-its-kind various artists compilation: Tehrangeles Vice (Iranian
Diaspora Pop 1983–1993), fully licensed from Taraneh Enterprises. The album is a groundbreaking exposé of
the vibrant subcultural hub of Tehrangeles (portmanteau of Tehran + Los Angeles), and the action–packed, true
story of the Iranian diaspora music industry. Featuring 12 tracks remastered by award–winning Osiris Studio,
lyrics and translations to all featured songs, original cassette covers, a 20+ page album note booklet by Dr.
Farzaneh Hemmasi and more! Sprawling from Westwood to Glendale across the San Fernando Valley, the
Tehrangeles scene was cultivated by the same producers and artists who industrialized the “golden age” of
entertainment in pre–revolution Iran and fled from the 1979 Islamic Revolution along with millions of Iranian
citizens. Through music and visual media, Iranian producers and artists working out of Tehrangeles have
engaged in what the Iranian government calls a “cultural attack” against the Islamic Republic for over 40 years.
The album title Tehrangeles Vice underscores the illicit nature and daring circumstances from which
Tehrangeles pop music was born and compares its legacy within Persian media to one of the most significant
crime–drama TV shows of all time. In the same manner that Miami Vice and its aesthetics had a dynamic
impact on sonic, visual and cultural trends in the United States and around the world, Tehrangeles media was a
shock to the systems of Islamic Republic ideology and Iranian expatriate communities. Listening to these songs
in hindsight, the contribution of Tehrangeles can be better understood as a triumphant effort to preserve Iranian
identity by realizing it in conjunction with prevailing music genres of the ‘80s and ‘90s, and to rebel against the
oppressive regime of the Islamic Republic of Iran through the most seductive of means: dance music.







g C1. Sattar - Khaak ("Home Land")

Daniele Baldelli
Considered one of the first DJs in Italy, Daniele Baldelli began his career in 1969 mixing vinyl at the Tana Club in Cattolica (his hometown),
predating the birth of the modern DJ by several years. In the following years, he solidified his talent and technique at histor such as the Tabù Club, Baia degli Angeli, and Cosmic. From 1979 to 1984, Baldelli created his unique and eclectic style, blendi ic clubs ng seemingly distant sounds and musical styles, complementing them with tempo adjustments (bpm) and deliberately extreme equalization,
creating a truly distinctive sound, known as "Afro Disco." Soundscapes and tribal percussion blend with early electronic music experiments, and Baldelli's sets become truly mystical experiences, where, for the first time, the temples are replaced by the dance floor.
The documentary film "A Cosmic Life" has just been released, starring Daniele Baldelli alongside other illustrious guests from the nightclub scene, recounting the history and formation of this movement from the 1970s to the present.
Gaudi
A producer/musician among the most highly regarded on the international dub/electronic scene, over the past 30 years Gaudi, from his
London studio, has contributed significantly to expanding the boundaries of musical genres with high-profile releases and innovative
music production techniques. Recently nominated for a Grammy Award with 'Mass Manipulation', the album he produced for the reggae
band Steel Pulse, and also nominated for a World Music Award with his album 'Dub Qawwali' with Pakistani singer Nusrat Fateh Ali
Khan, Gaudi has collected a series of number 1s on the international charts: Billboard - with the album 'Heavy Rain' by Lee "Scratch"
Perry, 'Vessel of Love' by singer Hollie Cook and with 'Mass Manipulation' by Steel Pulse -, UK Chart n.1 with the album 'Prism' by the
band The Orb (with whom he has collaborated as a producer and keyboardist since 2008), with 'Blue Monday' - by Gaudi himself with
the band Dub Pistols -, UK Dance Chart n.1 with 'Jus Come rmx' produced with DJ Angelino for Cool Jack. He also reached no. 41 the UK charts with the album ‘Midnight Rocker’ by reggae singer Horace Andy (known to the general public for his hits with Massive in
Attack), no. 13 with the album ‘Dubwise 2’ by the band Dreadzone and no. 5 in the Italian charts with the song ‘Lasciala Andare’, written
by him for Irene Grandi. With 19 solo albums and 350 remixes and productions under his belt, Gaudi, with his artistic versatility, has
worked with Groove Armada, UB40, Simple Minds, Brian Ferry, Devo, Big Audio Dynamite, Damian Marley, Seun Kuti, Mad Professor,
Trentemøller, Grandmaster Flash ft KRS-One, Lamb, Don Letts, The Beat, Deep Forest, African Head Charge (in which Gaudi is a keyboardist and dubmaster), Elisa, Scientist, Dub FX, Roedelius, Caparezza, Caravan Palace, EMF, Sizzla, Jovanotti, Sly & Robbie, Piero Pelù, Youth of Killing Joke, and Maxi Priest, to name just a few. Capleton,
Daniele Baldelli & Gaudi
DJ Daniele Baldelli and producer Gaudi first met three years ago at the Jazz Cafe in London. Mutual respect and an innate need to
create new stylistic fusions were the catalysts for Baldelli and Gaudi, leading to a series of subsequent meetings that inevitably culminated in the need to create music together. The project began at Gaudi's Metatron Studio in London using analog equipment and later
moved to Baldelli's studio in Cattolica, where the two organically defined their sound, also inspired by Baldelli's precious record collection. The duo consolidated a powerful compositional symbiosis, and the project, born from a simple initial groove, later transformed
into an entire EP consisting of four original tracks and a highly innovative sound, featuring fusions of psychedelic-funk, tribal-dub,
electronic-disco, and, of course, "Afro-Cosmic"! Daniele Baldelli and Gaudi began their sonic collaboration without setting any stylistic
direction and with the intention of not creating pre-established goals to achieve; it is a project of pure artistic freedom guided by their
compositional instinct and their experience. Constantly active with their evenings and live concerts, Baldelli and Gaudi have performed
individually in many of the best international clubs and festivals.

Updated remixes of two big Balearic classics on Best Record! "Describing Linda Di Franco is no easy task: a reserved, sometimes elusive artist with a career that is difficult to define. From an early age she was interested in various artistic fields. Working as a DJ in clubs, then on the radio, she took the opportunity to record her first musical demo, Stage, obtaining international recognition which quickly took her to England and to the States, where she recorded her first compositions, My Boss and T.V. Scene. The songs are of great value and achieve unexpected success, also included in The Rise Of The Heart, a milestone in the nascent revolution of club culture, a Balearic classic supported by DJs in love with the indefinable sound of Ibiza. But Linda is extraordinarily ahead of her time and despite the enormous fame has gained with her songs she is already oriented towards a career as a music video director. For this reason the Turin singer-songwriter turns out to be one of the least fruitful artists of her time, while her CV in Hollywood is impressive in various roles which she holds, in addition to that of actress and director, that of impeccable sound technique. Intelligent artist, full of good and positive feelings and certainly also ambitious, but extremely scrupulous by subjecting sounds in cinema to careful review. Yes! The "sound" is an investigative tool for her, a way of understanding art. Linda Di Franco is - willy-nilly - still the undisputed queen of the Balearic sound today. So, she decided to produce Redux, a limited edition album published by Best Record, in which her most intrepid and famous songs are re-proposed in the jazz versions edited by her friends from Turin and Los Angeles. Then she had to give in to the boundless passion of Danilo Braca, the Italian DJ based in New York, who deserves credit for the successful combination of refined and ethereal songs with the disco genre. TV. Scene - Epic Remix, TV. Scene - Costa del Sol Mix and My Boss - Remix are Danilo's pearls, created with the help of excellent international musicians who with more defined and current sounds have added their art to that of Linda."

Chicago's premier boogie purveyors STAR CREATURE dig deep with 4 extremely rare cuts, 3 of them being white whale level impossible to find & the 4th commanding big bucks online! Includes songs by TIGER JACK, SOUL INVADERS, MOTHERFOX, and PYRAMID PLUS. Heavyweight vinyl and heavyweight reverse board jacket. Due out Nov. 10.

“Let’s Bounce” was originally issued on Ajana as one of their only 2 releases, the first being earlier from Central Power System on Numero Group’s The Chicago Party compilation. Tiger Jack remained elusive, both Jack and a copy of his record until we stumbled upon a contact and were able to get in touch and stitch together the fully extended mix of this Punk Funk Boogie Bopper. Speaking of Numero Group, The 2nd track of Side 1 comes from an assist from the reissue Gods themselves as they blessed us with this never-sold-on-discogs soulful side of Boogie Slap issued on one-and-done label Magikal. When asked about the track, songwriter CA Williams said they recorded it for a restaurant jingle. Probably the best one we’ve ever heard.

Side 2 starts off with an absolute Modern Soul Monster with Motherfox’s Hot Shot. John Harris came by Star Creature’s South Side of Chicago HQ to chop it up and share some stories on Motherfox and his other passion project most deep funkers would known as Carver High. This record has reached insane demand the past few years as it’s a certified floor filler for all scenes - peak big budget sound packed into a small DIY package, total package. Track 2 delivers the full version of the ever mysterious Pyramid Plus providing the Titular Tune “Comin’ At Ya’” as vocoded talkboxed low slung, spaced out Boogie Banger.

Cybernetic disco maestro Patrick Cowley graces Dark Entries once again with Hard Ware, an LP of far-out funk and synthpop celebrating what would have been Cowley’s 75th birthday. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films, which the label chronicled on compilation albums School Daze, Muscle Up, and Afternooners. Hard Ware presents the closing chapter in a trilogy of unreleased Cowley dancefloor bangers that began with 2022’s heavy-hitting Male Box and was continued with the soul and garage-inflected From Behind in 2024. The most expansive release in said trilogy, Hard Ware delivers ten tracks of pure, uncut Cowley: sultry, psychedelic, sarcastic, and just a bit sleazy. Cowley devotees will delight in “Tech-No,” a sparse instrumental demo version of his epically dystopian “Tech-No-Logical World.” You could soundtrack your next aerobics session with cheeky numbers like “Pajama Party Massacre” or “Shake It Up,” both of which feature Cowley himself on vocals. The frenetic “Big Ass in Motion” is built around samples from Rudy Ray Moore and The Madam’s infamous “Sensuous Black Woman,” an X-rated comedy record that would later feature in classic booty house records. Mid-tempo cosmic groovers are well-represented with jams like “Hellfire” and “Megablue,” which perfectly capture Cowley’s bathhouse-in-outerspace sensibilities. No collection of Cowley’s work would be complete without an interstellar floor-filler, and we’ve got quite a few here, like “Jungle Jump,” which pits whirling beats with dub-laced swirls of synth, or “Spellbinding Lover,” a Donna Summer-indebted melancholic boogie masterpiece that features Sylvester backup singer Jeanie Tracy. Hard Ware closes with the chilling synth-hymn ”Ice Age,” in which Loverde vocalist Peggy Gibbons sings of a coming frosty apocalypse. The story told in “Ice Age” mirrors the coming AIDS crisis and feels like a haunting premonition from Cowley. The record comes in a sleeve with a hand-airbrushed circuitboard-inspired design by Gwenaël Rattke, and includes lyrics as well as liner notes by Andrew Ryce and Peggy Gibbons. Hard Ware is another crucial document of a tremendous talent taken too soon.

Pioneer of the electronic scene and co-creator of iconic projects like Age Of Love and BBE, Bruno Sanchioni returns with the fourth installment of his acclaimed series: Capture EP 4.
This new chapter delivers four powerful and hypnotic tracks, each crafted with the precision and flair that define Sanchioni’s legacy. With deep grooves, acid-tinged lines, and a finely tuned sense of progression, the EP invites listeners into an immersive and energetic sonic journey.

Capture EP 4 further cements Sanchioni’s reputation as a master of electronic storytelling—pushing boundaries while staying true to the spirit of the underground. A compelling addition to his ever-evolving discography, and a must-have for those who seek depth and intensity on the dancefloor.

French:

Pionnier de la scène électronique et co-créateur de projets emblématiques tels que Age Of Love et BBE, Bruno Sanchioni revient avec le quatrième volet de sa série acclamée : Capture EP 4.
Ce nouvel opus dévoile quatre titres percutants et hypnotiques, façonnés avec la précision et la sensibilité sonore qui font la marque de Sanchioni. Entre grooves profonds, lignes acidulées et constructions immersives, cet EP embarque l’auditeur dans un voyage aussi intense qu’élégant.

Avec Capture EP 4, Bruno Sanchioni confirme une fois de plus son statut de maître de la narration électronique — explorant de nouveaux territoires tout en restant fidèle à l’ADN de l’underground. Un disque incontournable pour les amateurs de sons authentiques, profonds et puissants.

System Olympia presents a bold, cinematic compilation that redefines the sound of sensuality. Love Language is an
18-track double-vinyl release pressed on deluxe heavyweight black vinyl.
It’s accompanied by a provocative, limited-edition 24-page fanzine, exclusive to 18+ audiences.
This is not just a compilation, Love Language is a manifesto. A carefully curated sonic journey through eroticism, artistic rebellion,
and liberation, it spans nearly five decades of music and features exclusive edits and rare gems that illuminate System Olympia’s
radical aesthetic vision.

****
Since her emergence on the electronic underground, System Olympia has carved out a distinct, sensual sonic universe, equal parts
vulnerable and defiant. With Love Language, she presents her most audacious project to date: a compilation rooted in what she
calls The Aesthetics of Sexual Desire in Sound.

It’s a daring declaration that desire is more than a feeling - it’s a language. Across 20 tracks, including her own sultry opener “The
Heat Of The Night (feat. REINEN)” and a rare System Olympia edit of Working Men’s Club’s “Ploys”, this compilation speaks in
rhythms and textures that evoke longing, intimacy, and ecstatic release.
This is not a traditional compilation. System Olympia’s sequencing is cinematic and deliberate. Every track a scene in a film that exists
only in the listener’s imagination. From the retro-futurist seduction of Flavia Fortunato’s Italo gem “Se Tu Vuoi” to the deep, extended
tension of Musclecars’ “Running Out of Time,” each piece plays its part in an arc of anticipation, climax, and reflection.Uniting artists as diverse as Daniele Baldelli, Piero Umiliani, and DJ Rocca, Love Language refuses boundaries of genre, era, or
expectation. It dances between vintage Italo-disco, dreamy electronica, sweaty club tracks, and avant-garde jazz, forming a rich
tapestry of sound and sensation.

System Olympia explains, “This is music for lovers, outsiders, and dreamers. It's a rebellion made of velvet and
basslines.

The accompanying 24-page fanzine insert, restricted to adults, further deepens the narrative, with erotic visual fragments and
poetic texts that amplify the compilation’s raw, sensual energy. A tangible extension of the music’s spirit, the zine invites listeners to
step into Olympia’s world and engage their senses fully.

As much a provocation as it is a celebration, Love Language is a deeply personal curation and a radical act of creative freedom. It
champions eroticism as art, desire as dialogue, and music as a liberatory force.

a A1. System Olympia - The Heat Of The Night (feat. REINEN) 3:44
b A2. Flavia Fortunato - Se Tu Vuoi 3:38
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]

[a] A1. System Olympia - The Heat Of The Night (feat. REINEN) [3:44]
[b] A2. Flavia Fortunato - Se Tu Vuoi [3:38]
[c] A3. See Thru Hands - Hot City [3:57]
[d] A4. Daniele Baldelli, Francesca Amati - Inner Light [4:43]
[e] A5. Ruins - Sexual Desire [3:14]
[f] B1. Midnight Magic - Beam Me Up (Eli's Mix) [5:13]
[g] B2. musclecars - Running Out Of Time [5:10]
[h] B3. Working Men's Club - Ploys (System Olympia Edit) [4:56]
[i] B4. Royalty - Heart Strings [5:05]
[j] C1. Dirty Art Club - Daysleeper [3:45]
[k] C2. Admiral - Soho Girl [4:14]
[l] C3. Tom Sharkett & Raf Rundell - Where's It All Go? [3:41]
[m] C4. Gina Calabrese - Nobody Lives Forever [4:40]
[n] D1. Romolo Grano, Gianni Oddi & Edda Dell'Orso - Kilimangiaro [3:55]
[o] D2. LNDFK - Hana-bi [1:55]
[2:47]

'Find a Way' is the new album from Manchester-based pianist, composer, and producer Matt Wilde, released via his own imprint Hello World Records. The album serves as a reminder that creativity should be accessible and the importance of opening yourself to the unexpected as you 'Find a Way' through all endeavours. Digging into improvisation and jazz harmony on the LP, he crafts a sound that bridges jazz, hip hop, and electronic music, adding: "The creative act is not a matter of waiting for the perfect conditions, but of moving gently, insistently, through the imperfect".

Focus and title track "Find a Way" encapsulates this journey of process. Humans are known for adaptation and response when they face challenges, seeking solutions towards a better world. "Find a Way" leans into our instinctive reaction to improvise and reshape, taking the listener on an unexpected journey. The opening loop could as easily feel at home as part of an electronic soundscape, developing into a clock-like effect from the drums. This keeps time, allowing a duet between keys and trumpet to unfold, symbolising the individual, imperfect and non-linear paths we all carve out day to day.

The album was funded by Arts Council England and created in close collaboration with trumpeter and composer Aaron Wood, with the pair recording in Aaron's rural DIY studio in Huddersfield. Through improvising upright piano, Rhodes and trumpet over intricately programmed beats, the duo captured the spontaneity that makes jazz feel alive, but with the forward-facing touch of Ableton live production. "I actually had live drums recorded for this project and then deleted all of them and instead programmed intricate drums on Ableton live myself to create the kinds of drum sounds I could hear in my head," Matt adds, explaining the onerous process that truly made 'Find a Way' a labour of love.

Matt Wilde discovered jazz through an unconventional journey, and 'Find a Way' is an introspective map of this musical development. Starting out as a self-taught beatmaker, growing up Matt made tracks for friends in the grime scene before falling in love with jazz through the sample-heavy works of Madlib, J Dilla, and Pete Rock. Hints of this influence can be found on "Windup", driven by a deeper bass and a glitchy intensity not commonly associated with jazz. There are also nods to the weekly DJ residencies Matt had in his late teens, establishing a love for club music at iconic Manchester venues like Sankeys. "It's Ok, Feel it" incorporates pitched-up kicks and crisp, papery snares that pay tribute to UK dance culture and the foundation of connection in this world.

Guided by values of accessibility and creativity, Matt has become a key voice in the UK's boundary-pushing jazz and beats scene. His debut album 'Hello World' alongside EPs and single releases, have been championed by the likes of BBC Radio 1, Jamie Cullum and Soweto Kinch (BBC Radio 2), 'Round Midnight (BBC Radio 3), and across BBC 6Music, Jazz FM and Worldwide FM. He has performed headline shows at Band on the Wall (Manchester) and The Lower Third (London) and showcased his music at Brick Lane Jazz Festival and London's iconic Jazz Café.

A proud Mancunian with Polish roots, Matt's values-driven approach reflects his passion for community and empowering others through the arts. Matt founded the UK's first youth-led charity and is a trustee of Manchester music charity Brighter Sound. Driven by these values of equality and inclusion, Hello World Records strives to champion grassroots music with a backbone of fairness built into the business model. The imprint is named after Matt's debut album, released via Band on the Wall Recordings; simultaneously championing the music scene and global musical footprint of Manchester and highlighting the importance of artists reminding people: Hello World, I've made it. I'm still here.

- Martha Cleary, Glow Artists

The third and final volume of Classic’s 30th Anniversary vinyl series brings the party full circle - blending deep catalogue cuts, future-forward house, and tracks from the label’s tight-knit family of collaborators.

Like the volumes before it, this 2x12” release arrives in a raw reverse board outer sleeve, a nod to the aesthetic of Classic’s earliest releases. Inside, bold yellow and red GMUND card stock inner sleeves with embossed detailing reflect the label’s long-standing commitment to design, artistry, and collectability.

Record One kicks off with a certified Classic family affair. Home & Garden’s ‘Sexuality...He's 2 Young’ features the unmistakable voice of DJ Colette, a staple of Classic’s early era. Included here is JT Donaldson’s Porno Beat Down Remix—a stripped, low-slung rework with an irresistibly funky bass line and pure dance floor chemistry.

Brett Johnson’s ‘Jiffy Pop’, from his legendary Bounce! EP, follows up with a jittery, swaggering groove that epitomises Brett’s playful, funk-laced production style. Infectious, weird, and entirely unforgettable.

On the flip, Tiefschwarz’s ‘Acid Soul’ delivers a moody, muscular roller. Originally released during their prolific run on Classic in the early 2000s, it fuses baritone sax stabs, a Berlin-borne bass line, and a sultry vocal into a deeply spiritual house cut.

Roy Davis Jr. closes Side B with the propulsive ‘About Love’ (Solid Groove Remix)—a tough and driving interpretation by Dave Taylor that’s long been a DJ favourite in the Classic vaults.

Record Two showcases Classic’s more recent sonic evolutions. JT Donaldson’s return to the label in 2019 came with ‘Stay Inside’, a rich and breezy groove featuring the soulful voice of Liv.e. It’s an elegant and understated slice of modern house with timeless appeal.

Then comes Dam Swindle’s funk-charged ‘Hey Mister’. A punchy, bass-driven jam built around a 70s reggae-disco vocal sample. Raw and infectious, it’s been lighting up dance floors worldwide since its release.

Luke Solomon’s catalogue on Classic is vast, but ‘Come on Over’, his collaboration with Amp Fiddler, earns its place here. Seeing vinyl release for the first time, this cut overflows with musicality. Amp’s passionate vocal, free-time breakdowns, and deep funk grooves deliver pure emotional punch.

And to close, a modern masterpiece: Honey Dijon’s ‘Work’ (Extended Mix), taken from her ‘Black Girl Magic’ LP. Featuring Dave Giles II, Cor.Ece, and Mike Dunn, this powerhouse track brings together fierce vocal performances, live instrumentation, and top-tier production. It embodies everything Classic stands for: collaboration and innovation on the dance floor.

Following on from Andres aka DJ Dez's well received last outing on David A-P's Hot Pot label, it is now veteran DJ and producer Marc Meistro from DC's Sol Power All-Stars who now brings the class. To kick off he brings his own spin to a Latin funk classic 'Mas Que Nada' and then turns the sunshine up to 112 on the shuffling samba sounds of 'El Platanal De Bartolo'. It's a pure party starter for Latin lovers and then comes some more drum-forward funk on 'I Wanna Go Downtown' with its rolling percussion and funky bass twangs. 'Make Your Mind Up' slows down to dubby disco bliss with leggy riffs teasing and pleasing. Four effective, charming essentials from Meistro.

Steve Moore reprises his beloved Lovelock guise by presenting his unique riff on the library breaks genre. Business And Pleasure contains grimy groove and sleazy, funk-laden lounge music.

This vinyl release is hyper-limited, with just 500 pressed for the world.

The LP is ushered in by the spacey synth-funk of the sleazy, woozy title track. This is that serious slo-mo cosmic-balearic head-nod shit. Laidback bass, heavy funk with dreamy synth and electric guitars. An outstanding opener. Up next, the dynamic, swaggering "Last Call" is a sophisticated, elegant stroll - sweeping, mellow strings, a smooth bassline and gorgeous percussion with urgent keys and swelling synths.

"Slinky Strut" is another spaced-out, sleazy funk groove with jazz rock by way of a heavy, heavy guitar riff, mellotron and bass breakdowns which build to brass crescendos. Gigantic. "First Class" closes out the side, and, like classic Hawkshaw / Bennett noir, it's got that mysterious and murky stretched out sleuth / detective soul with a great bassline and percussive elements, with swelling strings, ace synths and smooth Rhodes piano melodies entering the mix halfway through. Dramatic guitars and groovy percussion add extra intrigue. It's 7 minutes of funk!

Side B opens with the stretched-out psychedelic funk and jazz groove of "Stank 49". It takes its sweet time to unfurl, creating enormous - almost sensual - anticipation for the ensuing beauty but, as it does, we're left beguiled and straight-up hypnotised. Heaven-sent synth flourishes and a laidback bassline over smooth drums cement its simple, vivacious grace. "Dangerous Man" is that creeping crime funk we all love; heavy bass and fuzzy guitar riffs, mellow strings and sumptuous piano/synths. It's irresistible, it's ominous and it's pretty gargantuan. It's basically like an El-P hip-hop instrumental. We need to get some rappers over this stuff, stat!

"Stinkbug" is a dazzling and funky groove-fuelled jazz-rock workout with fizzing synth riffs joined by full percussion and drum breaks, building with strings to a strong swagger. Vigour! To close out this remarkable set, the breezy "Win Or Lose" is laidback soul-inflected funk, utilising urgent, skipping drums and galloping basslines. Just stunning.

This collection was written and recorded in Spring and Summer of ’24. Everything was tracked at Steve's home studio in Albany, NY except the drums and percussion, which were recorded by Jeff Gretz at his space in NYC. The whole collection is basically a rhythm section feature, so Steve's Rickenbacker 4003 and Fender Jazz Bass play very prominently. The bass guitar serves as lead instrument in a lot of these tracks. Also, lots of Rhodes and stringers (Solina, Logan etc) and guitar (Strat and Les Paul). He even dusted off my sax for this one, which he doesn’t do as often as he’d like!

This type of groove-oriented library music has been a steady part of Steve's diet since the late 90’s. In heavy rotation while writing this collection were the following classics: “Time Signals” by Klaus Weiss, “Tilsley Orchestral No. 10” by Reg Tilsley, and “Heavy Truckin’” by Simon Haseley. “Voyage” by Brian Bennett was also a big one.

Lovelock started as a dedicated Italo-disco project, but over the years Steve expanded it to include anything directly informed by the commercial/pop side of the music of his childhood (70s/80s). Writing and recording this album was, like a lot of Steve's music these days, basically a test to see whether or not he could do it.

The song titles, like the music, are meant to be evocative yet vague. But there is a bit of a travel theme. Steve imagined this record being the soundtrack to a sleazy salesman’s business trip. The kind of guy who, when asked if he’s traveling for business or pleasure, responds “both.” Beyond the traveling salesman comparison, the title directly relates to the creation of this album. This was something he wanted to do just for his own enjoyment. Yet, like our sleazy salesman, he still found a way to get paid.

The album’s cover was designed by Chris Stevenson, with no little direction from Steve. He knew that he wanted to go with something photography-based for this cover so, in true DIY/cheapskate spirit, Steve started by looking through his own photos. He found the cover image on his phone, taken through an almost empty bottle of beer, and it clicked. The whole album has a very boozy vibe (especially with titles like “Last Call”) so this shot seemed appropriate. We, hic, agree.

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

NYC punk-chic, discodelic funk band Say She She is back with Cut & Rewind, their politically-charged, dancefloor-crushing third album. Led by the powerhouse vocal trio of Piya Malik, Sabrina Mileo Cunningham, and Nya Gazelle Brown, the group channels progenitors like Minnie Ripperton, Charles Stepney, Liquid Liquid, and Raw Silk to create a groove-forward, psychedelic soundscape of pulsing disco beats, heavenly whistle tones, and soaring three-part harmonies. There's a feeling of righteous rebellion simmering beneath these songs' body-moving exterior, though: "She Who Dares" is a call to fight against a near-future dystopia where women's rights have been decimated globally; "Disco Life" decries the racism and homophobia of Steve Dahl's 1979 "Disco Demolition Night," reclaiming the dancefloor as "a playing field where all are free." Cut & Rewind is protest music dressed up as a sweat-dripping, hip-shaking, mind-expanding good time.

A record born of insurmountable joy and simultaneous profound loss; World Maker marks a time of great change for Psychonaut, both personally and musically, as the band burn away the philosophical narrative complexities of previous offerings with a searing, panoramic clarity that implores us to savour the beauty of the now as a means of leaving a legacy for the future. The traditional, three-piece line up of Belgian, psychedelic post-metal collective Psychonaut has long belied the compositional prowess, captivating narrative depth and crushing live presence of a band now operating at the forefront of forward-thinking, contemporary heavy music. Having sent a shockwave through the post-metal and prog scenes with their three times repressed Pelagic Records debut Unfold The God Man in 2020 before following it up with the transformative metaphysical complexities of 2022's Violate Consensus Reality, Psychonaut have played prestigious Belgian open-air festivals like Alcatraz, Rock Herk and Boomtown Festival as well as boutique events such as Soulcrusher, Roadburn Redux and A Colossal Weekend whilst sharing stages across Europe with the likes of Amenra, Brutus and Pelagic labelmates The Ocean and PG.Lost. The seed of World Maker took shape just as the campaign for Violate Consensus Reality came to a close, with the news that guitarist/vocalist Stefan De Graef was to become a father. This tilting of life's axis led De Graef, like most fathers-to-be, to re-assess what was really important. As such, the music he was inspired to write felt free of the band's previous philosophical and spiritual foundations and instead took the form of life lessons for his unborn son, a legacy of love in case something were ever to happen. This hopeful euphoria shines keenly throughout World Maker as an uncharacteristically optimistic warmth; from the reverberating Rhodes organ on the titular opening track and the meandering, free-jazz inspired guitar solo that introduces `Everything Else is Just The Weather' to elements of world music, electronica and the otherworldly voice of Dutch multi-instrumentalist and old friend Anthe Huybrechts (Anthe/Helion Creek) most notably on tracks like `Origins' which also features tabla, a pair of indian hand drums, as its propulsive heartbeat. Whilst Psychonaut's giant riffs, punishing polyrhythms and guttural vocal rage are more resplendent than ever, there is a wider dynamic spectrum to World Maker that sees the band proudly exploring their more delicate, intimate extremes as well as their most aggressive and abrasive. Not long after the birth of De Graef's son came the devastating news that both his own father and Psychonaut bassist/vocalist Thomas Michiels' father had been diagnosed with advanced cancers. Living day-to-day and torn between joy and grief, the band found themselves shedding the grand scope and world-shattering agenda of Violate Consensus Reality to focus on the here and now. Lead single `Endless Currents', the first full track on the album, explodes in a barrage of staccato guitar tapping but mellows to let the powerful, newly pared back lyrics ring out as a call to embrace the flow and follow joy. The song's final few words `Lead the way. / Soar. / Everlong.' double as both a greeting and a goodbye as the trio build their formidable post-metal might to a thunderous breaking point. Similarly, the pulsing, propellant `Stargazer', named so for De Graef's son being born in stargazer position, pairs delicate guitar motifs and folk-inflected optimism with huge and sprawling breakdowns as some of the band's most genre-pushing work to date; asking difficult but important questions of what happens next. It is `And You Came With Searing Light' though that most immediately exemplifies Psychonaut's redirected ambition on World Maker, as euphoria collides with blinding fury. The first track written for the album, `_Searing Light' is easily the most complex and initially wouldn't sound out of place on Violate Consensus Reality. Originally meant to be the new album's opening track; the decision to defer its impact, not to mention its compositional and dynamic gravity, speaks of a fundamental change to the band's very core. The words "Discover the world with wide eyes" recurring throughout speak as much to those having lost a part of their world as they do to those seeing it for the first time. Amidst such turbulent times, the band found strength and support within their Post-Metal community. The album was recorded and produced by the band alongside their longtime collaborator and close friend Chiaran Verheyden (Hippotraktor) with help and advice from Psychonaut's live engineer Victor, who will no doubt make this album sound just as awesome on stage. Even the artwork for World Maker was a family affair, being designed by close friend Sam Coussens of Belgian cosmic sludge metallers Pothamus. In the face of life's soaring highs and desolate lows, World Maker is direct and brave without sacrificing any of Psychonaut's raw power, creative innovation or inimitable musical depth. Where their previous full-length offerings have charted grand introspective courses through time and space, World Maker is breathtaking in its uncompromising clarity: a father singing to his newborn son as a son bids his own father farewell. FOR FANS OF Mastodon, Russian Circles, Tool, Gojira, The Ocean, Pelican, Hypno5e, Cult Of Luna, Amenra

Perhaps you've chanced upon a Number Station, unwittingly as you scour the shortwave bands, and heard a cold, disconnected voice repeating simple commands endlessly into the ether. Or maybe you've scanned past a series of bleeps and pips, or pockets of noise, thinking nothing of them, as you seek a favoured music station. These are messages, to those who know how to receive them, and are able decode them in their various forms and configurations.

Shropshire Number Stations - Recordings of Covert Shortwave Radio Stations charts the covert shortwave radio stations broadcasting silently through the air around us, to aspirant agents in the fields of Shropshire, UK and the counties which surround it. These two continuous sides include recordings of 19 such lay-stations, captured by Eric Loveland Heath at various points over the last few years. The true nature of these amateur networks may never be known, nor might their cyphers ever be revealed. These are recordings of their activities, made conceivably for the sake of posterity alone, offering a glimpse into clandestine worlds otherwise obscured from view.

Several years ago, the Disco Records DJ Crew members got their hands on a couple of original 70s obscurities, while these standout records shone brightly in their own right, the team finally decided to put them out as those obscure old records fetch eye-wateringly high prices on the second-hand market. Due to popular request & lovingly mastered to the highest possible standards, they are now available to play and share in very special moments at parties around the world. This will surely be one of the most keenly anticipated disco release of the year. For our first release, we are extremely proud to bring you at last, three very hard to find disco anthems on sides A & B in their glorious full extended versions

Jolene Cuts returns with a 5-track vinyl-only masterpiece that channels the golden era of 1998 French House while pushing it into the future. No edits—just 100% original productions from Danny & Mike, two true craftsmen of filtered house grooves. “Jackpot” kicks things off with a euphoric, sample-driven floor-burner, dripping in funk and irresistible filter sweeps that recall the raw magic of classic Roule and Crydamoure records. “Voiture” follows with a sleek, late-night ride through hypnotic basslines and shimmering disco loops, perfect for peak-time club moments. On the flip, “So Cruel” brings soulful vocal chops and deep, rolling grooves in a way that nods to the emotional side of the French Touch era. “Love U” injects pure joy into the mix—swinging drums, warm filters, and a seductive disco flair designed to light up any dancefloor. Closing it all, “Disco Road” is a driving, high-energy weapon blending pulsating bass and filtered hooks that feel like 3 a.m. in Paris circa ’98. This is a love letter to French House—strictly vinyl, strictly limited, five unmissable club bombs. Perfect for DJs who crave that raw filtered energy, vinyl purists, and anyone who knows the true essence of French Touch: groove, soul, and pure dancefloor ecstasy. Once it’s gone, it’s gone.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation. In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”.

A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection. Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural? As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves. Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult. Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour. The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.

There was nothing in contemporary music like Chris Isaak’s Heart Shaped World when it hit shelves in June 1989. More than three decades later, the singer-songwriter’s third album still sounds unique — and claims a backstory nearly as fascinating as the retro-leaning material and standout performances that propelled it to sales of more than 2.5 million copies. Home to the Top 10 smash “Wicked Game,” the set remains a masterful mood piece that invites you to pour a late-night drink, sit in a dimmed room, and relish Isaak’s elegant albeit raw ruminations on love, relationships, and questionable decisions.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, strictly limited to 3,000 numbered copies, and featuring the bonus track “Diddley Daddy,” Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of Heart Shaped World unearths the staggering inner details, saturated tones, and brilliant atmospherics of the crisp production. It brings you up close and personal with Isaak’s spectacular singing — impeccably controlled, tense, brooding, steamy, smoldering, haunted — situated amidst stripped-down backdrops that allow every note to fully bloom and decay.

While Isaak’s ever-steady baritone remains the anchor, the contributions of his trusty backing band, the aptly named Silvertone, come across with just as much cool, command, and realism. The indispensable playing of guitarist James Calvin Wilsey particularly emerges with superb clarity and dimensionality. The character of his 1965 Fender Stratocaster, shivering twang of his spring-coiled fills, and his signature use of reverb, delay, and vibrato seamlessly match Isaak's patient deliveries and the band’s unhurried rhythms. Experienced on UD1S with ultra-black backgrounds and a nearly invisible noise floor, Heart Shaped World is in every regard a demonstration disc.

The premium packaging of this UD1S pressing befits its elevated status. Housed in a deluxe slipcase, it features foil-stamped jackets and faithful-to-the-original graphics. Aurally and visually, this reissue is for discerning listeners who desire to immerse themselves in everything involved with the album, not the least of which is the cover art depicting a lost-in-thought Isaak staring ahead and sitting in what appears to be an efficiency apartment. The image epitomizes the record’s lonesome temperaments and pensive themes.

Of course, if not for director David Lynch hand-picking two cuts from Heart Shaped World for his 1990 film Wild at Heart, the record would’ve probably suffered the same fate as Isaak’s prior efforts and gone unnoticed by the mainstream. Despite receiving raves from outlets such as NME, Chicago Tribune, and Rolling Stone upon its original release, the album stalled in the lower quadrants of the Billboard charts and, after a few weeks, dropped off.

Cue the ear of Lee Chesnut. Then the music director for a large Atlanta radio station, Chesnut heard the instrumental version of “Wicked Game” on Lynch’s soundtrack and started airing the album rendition at all hours of the day. Aided by a sensual video featuring Isaak and supermodel Helena Christensen, the song found its way into the public consciousness by early ‘91 and helped make Isaak a most unlikely mainstream star in an era where his techniques had little to nothing in common with popular tastes.

Despite its vintage vibes and shared DNA with legends such as Roy Orbison, Chet Baker, and Glen Campbell, Heart Shaped World transcends nostalgia, rockabilly, and throwback tropes. For all the melodrama and sadness at hand, Isaak’s gorgeously transparent singing dives deep underneath emotional surfaces. He mines subtleties that indicate his feelings go beyond heartbreak and anguish, and occasionally suggest frustration, menace, and anger. You can hear it in his quivering falsetto, and the slow and methodical ways he allows delicate whispers to break into shadowy phrasing that crosses over to the darker sides of romance and desire.

That approach bolsters the title track, which suggests calm yet moves on ominous currents — its simmering pace and snare-drum snappiness foreshadowing Isaak raising the volume and urgency during the coda. The southwestern-tinged “Wrong to Love You” plays with similar concepts of hesitation, unease, and discord, Isaak careful never to fully erupt and give anything away. His poised deliveries offer a master class in the art of insinuation and hurt on “Nothing’s Changed,” sent up with a wordless backing chorus and crackling guitar lines straight out of a Memphis blues joint.

Heart Shaped World further boosts its merit via its abundant stylistic variations, from the upbeat country-and-western trot of “I’m Not Waiting” and Spanish acoustic shimmer of the jazz-based ballad “Blue Spanish Sky” to the swinging horn-accompanied grooves of “Don’t Make Me Love You” and desert smokiness of the understated “Kings of the Highway.” On the latter, Isaak comes across as resigned and absolute. His singing and pain worm their way into your soul, and echo akin to the way the music prepares to strike when you least expect.

“Trouble going 'round,” Isaak croons right as the album begins. “Trouble going down.” Damn straight.

Repress!

Deluxe Edition of PDM's massive Exotica LP features 2 x Purple Vinyl, 2 x Printed Inner Sleeves in Embossed Gatefold Sleeve with A2 Poster includes full Exotica album plus 3 bonus tracks: “In The Dark” with Sophie and the Giants “Rise” featuring Tasita D’Mour “Twisted Mind” featuring Agnes. Limited Edition.

Sucre Discos proudly presents its very first vinyl release. Straight from Valencia and
crafted with love, the label kicks things offwith a powerful debut from Otrera, the
Argentinian talent whose infectious and timeless grooves have been setting dancefloors
in motion.

This EP is packed with personality — music designed to move bodies and capture the
essence of the club.

To complete the package, two of the most exciting names in today’s house and minimal
scene, Sueezo and Aka Juanjo, deliver top-class remixes, adding their own unique touch
and turning this record into a versatile and essential piece for any selector’s bag.

Collecting Orders For 2025 Repress

Featuring PDM hits, Music in You, Body Funk, Love For Days, the Faithless collab on 'Let The Music Play', CeeLo Green fronted 'Pray For Me' alongside super hit 'Devil in me'

SUPREME STRIKER returns with its second release following the breakthrough success of Quasar — Ritmo Love, widely supported on dancefloors and notably played by James Zabiela, igniting crowds and confirming the label’s direction: uncompromising underground music built on culture, not trends.

The new chapter comes from Italian producer John De La Noise, delivering a powerful and deeply authentic EP entirely co-produced by Michele Lamacchia, the mind behind Rhythm Of Paradise (ROP), Love Island, 34th Floor Experience, Nu-Cleo, Qubrique, Soulvibe Inc. and many other essential projects tied to the extended SKYLAX universe. A true architect of sound, Lamacchia brings his unmistakable analog finesse and musical intelligence into every detail of this record. From the opening track, A1 — Just With U (Special Skylax Edit) sets the tone with a refined filtered house approach — balancing French touch heritage with modern underground precision. Warmth, control, and elegance without excess. A2 — Tributo Al Maestro operates as a direct transmission — a respectful and elevated nod to the legacy of Soichi Terada and Larry Levan, where rhythm becomes language and space becomes emotion. A3 — 1986 (Special Skylax Edit) pushes deeper into the source code — merging old school Italo disco, proto-Chicago house and early European electronics. With strong melodic identity and raw analog textures, the track echoes the spirit of Klein & MBO while feeling immediate and alive.

On the B side, the journey expands with Piacere D’Estate, a fluid and luminous house track built for open air systems and extended sets, followed by Città Di Frontiera, where darker tones and hypnotic structures meet urban tension. Vecchio Ritmo Italiano closes the record as a statement — rhythm as memory, rhythm as identity, reprojected forward. Across the entire EP, the production carries the aura of early ‘90s Italian and New York house — not as a reference, but as a living system. Every element is intentional. Every frequency serves a purpose. SUPREME STRIKER continues to define its path: records made for the dancefloor, for DJs, for those who understand that music is not content, but structure.

Phosphor returns with its fifth release and a new chapter for the label’s founders, Blue Vision. As their second EP on the imprint, Machines Will Transform Us (PHP005) confirms the project’s direction: a precise balance between club-driven tech house and more immersive, hypnotic electro textures.

Across the EP, Blue Vision asks a simple question: after spending our days connected to algorithms and modern machines, can repetitive rhythms and mechanical grooves on the dancefloor turn us into machines once again, or instead help us reconnect with ourselves?

Machines Will Transform Us (A1) opens the EP with a driving Italo bassline and tight, tech-driven drums. Melodic 80s synths contrast with sharper electro elements, gradually building tension before a final drop designed for peak-time impact. The track sets the tone for the release: machines transform us as much as we transform them.

Then comes Just a Game (A2), blending spacious 90s progressive and synthwave influences over a rock-solid club bassline and crisp drums. Playing with atmosphere and emotion, the track explores the feeling that we are never too far from a simulation, that maybe everything is just a game. Perfectly suited for introspective yet intense moments, it acts as an ideal bridge between harder tracks in a set.

On the flip side, I Love Acid (B1) is direct, hypnotic, and designed to lock the dancefloor into a steady flow. Stripped back to punchy drums and a raw acid line, it takes a minimal approach that works equally well in early hours or late-night sets. Behind the title lies the idea of acid as both machine energy and mental escape, where repetitive sequences blur the boundary between human emotion and mechanical movement.

As a final touch, Scan Your Brain (B2) shifts into deeper, more immersive territory. Analog pad textures create a drifting atmosphere over a hypnotic bassline and electro drums. With this closing track, Blue Vision answers their initial question by imagining the dancefloor as a space to disconnect from rigid thinking. The vocal serves as a reminder that the brain is constantly overloaded, and that dancing becomes a way to let go, reset, and reconnect.

This is the very limited marbled vinyl version of the repressed Lords of The Null Lines EP.

Here we have the beautifully remastered Foul Play and Foul Play ft Randall remixes of Lords Of The Null Lines. There is little to say about these definitive classics that has not already been said. You know ‘em, you love ‘em, they are essentials. However, the Danny Styles remixes are perhaps deserving of some explanation. There were created in the early 90s, and were cut, but quickly stopped by Moving Shadow as they were not really official remixes. A few test presses got out, and the result has been these remixes reaching a near mystical status in the passing decades, and the vinyl changing hands on discogs for absurd prices.
So it was with great pleasure that Hyper-On Experience and myself managed to broker a deal with Moving Shadow and Danny Styles to bring these amazing remixes to a legal and official release! It took over 25 years, but they can finally be bought...

THIS 7" IS FRESHLY RELEASED FOR THE JAPAN TOUR 2025 WHERE DJ SOTOFETT STRICTLY PLAYS ACETATE DUBPLATES!!! DJ Sotofett's new label "Resonance of Dub" follows up his Tresor born dub-club concept with the same name. "Resonance of Dub" is simply the dancefloor spectrum that's directly influenced by Dub music; Steppers, Disco-Dub, Digi-Dub, Dubstep, Lovers Rock, Dub-Techno, UK Garage and Jungle... First release features a strictly percussive dance floor stepper by LNS & DJ Sotofett with vocals by Ekowmania (aka Ekow Alabi Savage, drummer and percussionist from Ghana and collaborator with Jimi Tenor). B-side is a deep melodic and percussive piano dub, a melancholic late night stepper.

ZYX Italo Disco New Generation – Limited 5LP Box

Ein echtes Sammlerstück für alle Italo Disco Fans!

Diese streng limitierte 5 LP Box vereint gleich fünf Alben aus der erfolgreichen „ZYX Italo Disco New Generation Vinyl Serie“ – erstmals als exklusives Box-Set erhältlich. Auf insgesamt 5 hochwertigen Vinyl erwartet dich eine einmalige Zusammenstellung von Klassikern und modernen Hymnen im typischen Italo-Disco-Sound, der weltweit Fans begeistert. Tauche ein in die Welt des Italo Disco – mit dieser Box sicherst du dir ein Stück Musikgeschichte zum unschlagbaren Preis!

Celestial Echo is here with one of the all time holy grail soul double siders. When we tell you a record will never leave your bag after buying it, this is exactly the record it applies to.

Originally released in 1970 and written, produced and arranged by the great Van McCoy, Washington D.C.’s Bobby Reed stepped up and delivered “The Time Is Right For Love” an incredible loved up stepper, and then “If I Don’t Love You”, a perfect compliment, another… loved up stepper.

This one isn’t a fresh find, or a new discovery - Just an essential, officially licensed reissue of an incredible slice of soul.

Two of Australia’s own legends Dr Packer & Yogi deliver an instant classic with ‘Heavy Vibes’. Reworking the disco track by the Montana Sextet aka Vince Montana Jr. who was primarily known for founding Salsoul Orchestra and his work with the MFSB and their track ‘Love Is The Message’, heard throughout ‘Heavy Vibes’.

David Penn & KPD join legend Kurtis Mantronik for a 2025 update of Kurtis’ 2011 release ‘Get Down’, sampling Brick’s 1977 disco record ‘Ain’t Gonna Hurt Nobody’.

Slow Motion Records founder Franz Scala announces the infectious, ground-moving LP 'Cafe Futuro', a follow-up to his highly acclaimed debut ‘Mondo Della Notte’. Homage to the influential Neukolln bar and meeting point for Italo and Cosmic disco heads, 'Cafe Futuro' builds upon a bold and innovative sound, showcasing fellow creators and genre-defining artists, solidifying the Italo Aficionados sound, synonymous with the pioneering greats.

Krewcial returns with more MJ from the vaults. Mixed from the original multi-tracks, always with love and respect for the original material.

The A side kicks off with The Jacksons 'Everybody' but feels and sounds like a solo Michael joint and references his “Get On The Floor” in the lyrics. The extended version gives plenty of room to all instruments to build up and join before MJ comes in.

On the flip we have the seminal 'Can’t Help It', written by Stevie Wonder and sampled by DeLaSoul combines the instrumentation and energetic drums from the demo version with the lead vocal from the album version. Adding a lush string arrangement which takes this version into TSOP territory and adds the disco vibe that works on today’s dancefloors.

Limited Vinyl Only Release act fast!

Peek of Normal is the new label from disco veteran Stevie Kotey, whose productions have graced the Bear Funk, Ambassador's Reception, Strut, Electric Minds and many more labels in the past. Pretty much its first move was to ink a deal with Dutch master Mark du Mosch, who'd been friends with Kotey since the latter moved to Rotterdam in 2005 and discovered his neighbour had similar tastes in disco. This new label's inaugural release, Sterling Melody, is quite the labour of love, and with eight tracks spread across a double vinyl pack collection lean more towards the coldwave, electro and synthpop of the early 80s rather than 70s disco. There are echoes of some pretty classic sounds here, from the Vince Clarke-esque throb of '77777st' and 'A5G Neowise' - not unlike the soundtrack work of mid period Tangerine Dream - to the slower motioning Italo-tinged shininess of 'Soluzio'. Our favourite is the title track itself, perky and full of sparkle, like the incidental music for a lost series about a mullet-clad, white linen suited detective who doesn't play by the rules, only much, much better. Definitely worth a Peek.

Longtime label friends Peter and Lukas Visti return with a stunning long player rich in authentic Balearic sounds. It opens with the percussive nu-disco groove of 'Ocean View' then drifts into flamenco-tinged reflections on 'Invisible Sun' and 'Kathmandu.' Acoustic guitars feature prominently throughout, from the uplifting 'A New World' to the dreamy, sunset-ready title track. 'Eternal Love' brings us back to the dance floor while 'Lazy' leans into late-night Balearic house. The album closes with the serene, acoustic beauty of 'The Last Supper.' Fair Wind indeed.

DJ Feedback

Pete Herbert:
"Outstanding, and featured on radio show"

Faze Action:
"Lovely album full of beautiful melodies and calming atmospheres"

Chris Coco:
"Super-sunny, top quality Balearic gear from start to finish"

Max Essa:
"Absolutely superb!"

Bill Brewster:
"Cool beans!"

Richard Dorfmeister:
"Cool release!"

Sally Rogers/A Man Called Adam:
"Very Sunset set friendly collection, I'll be playing :)"

Nude Disco/Altra Moda Music :
"A really nice selection here"

Justin Robertson:
"Love these"

pictured cover sealed in shrink wrap (first time ever on Samosa)



Samosa Records comes back with a real summer bang in the form of the ‘Afro-Ritmo EP’ – a four-track journey into afro soaked vibes courtesy of Anura & Sr. Lobezno and featuring label boss De Gama!

First up on side A is the EP’s title track, the mesmerising ‘Afro Ritmo’. Anura & Sr. Lobezno announce their arrival on Samosa Records with this spicy West African rhythm bomb. Kakaki trumpet fanfares meld with intricate synth stabs and ethereal Oja flute, whilst the solid tribal beats and rolling bass dictate the dance moves. And dance you must…

Track 2 is the deliciously glitchy, conga bonanza ‘Sungu Sa’. Make no mistake, ‘Sunga Sa’ is out to get you from the very first beat – tempting you to go behind the curtain as the haunting guitar lures you ever closer to its secret door. Dark, uplifting and ritualistic, the chant of ‘Sunga Sa’ will live in your head rent free well after the sun has gone down. Don’t say you weren’t warned.

Over on Side B De Gama takes the title track ‘Afro-Ritmo’ and applies his unique sonic rubs, balms and enhancers to create a pulsating after hours jam full to the brim with Afrotropic sparkle and magic dust. Like an unstoppable chugging train steaming through a savanna, De Gama is the conductor supreme as the raspy synth, bluesy guitar riff and uplifting brass fanfares entwine around that pounding beat.

Finally, Track 4 gives us the seriously powerful Javier Morrilas remix of ‘Afro-Ritmo’. The original is stripped right down and given the Big Beat treatment for this insanely good take – a peak time switcheroo of a track that keeps you guessing as to where it’s taking you. As the flutey breakdowns and broken beat madness get you, you will fall in love with this one instantly.

The ‘Afro Ritmo’ EP is a powerful, masterful four tracker from Anura & Sr. Lobezno which is well at home in the Samosa Records cooking pot. Spread the word, buy the vinyl. You won’t be disappointed.

• Reviewed with love by The Black Light Disco

Written, Produced, Arranged and Mixed by Anura & Sr. Lobezno.
Keyboards & Percussions: Anura.
Trumpet: Jimmy Garcia
Sax & Flute: Carlos Ligero
Trombone: Prudencio Valdivieso

*Remix and Additional Productions by Stefano Gamma aka De Gama for De Gama Rec - Rome.
Jazz Guitar & Acoustic Bass by Pietro Nicosia.

** Remix and Additional Productions by Javier Morillas.

All tracks mastered by Francesco Pierguidi at L’n’P Studio – Rome.

Artwork and computer graphics by Nerina Fernandez.


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