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f *Goodbye, Asshole* was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then *Boone* is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable.

Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies.

There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging.

The party’s dead. Long live the reckoning.

Fuckwolf have been around the SF scene for a while, and it took Ethan Miller (Silver Current / Comets On Fire / etc) ages to get them to record the debut album, they then toured Japan and released a limited split mini with Green Milk From The Planet Orange. They reconvened late 2024 and recorded Boone..

This new album "Boone", polishes and extrapolates the fizzing psychedelia of their first album, and turns Fuckwolf into the heirs to the crown of mass-consumptive Sike-rock. This album is in the same vein as Mercury Rev's "Yerself Is Steam", Butthole Surfers' "Rembrandt Pussyhorse" and Flaming Lips "Telepathic Surgery", there's sheer pop in amongst the mind's eye rattling dollops of psychedelic wallop... the Koolaid was drunk and the songs were made.. plug it in, turn on...drop out.

Master by the one and only Mikey Young!!

Following Volume 1, this second instalment of Classic’s 30th Anniversary series dives even deeper into the label’s visionary, genre-bending catalogue—balancing pioneering remixes, cult favourites, and future classics.

Once again, this 2x12” release is beautifully presented in a raw reverse board sleeve, a tactile nod to Classic’s earliest releases. Inside, are deep teal and green GMUND card stock inner sleeves with embossed detailing elevate the package into a collector’s item worthy of the music it holds.

Record One opens with one of the most revered remixes in house history. Isolee’s ‘Beau Mot Plage’ (Freeform Reform Parts 1 & 2), originally licensed from Germany’s Playhouse and lovingly reworked by Freeform Five’s Anu Pillai with a live ensemble. It’s a sprawling, euphoric journey that helped define Classic’s international reach and is still widely regarded as one of the greatest house records ever pressed.

Up next is Greenskeepers’ off-kilter banger ‘Bang in Your Face?’, showcasing the quirky, ‘G-swing’ sound for which James Curd and his crew became known for during their long-standing relationship with the label.

On the flip, Pépé Bradock’s jaw-dropping rework of Iz & Diz’s ‘Mouth’ takes center stage—a remix composed entirely from human sounds, equal parts sensual and surreal. Universally praised, it’s a masterclass in sonic innovation and remains one of the most acclaimed house remixes of all time.

The side closes with Markus Nikolai’s beloved ‘Bushes’, The First Re-Creation (Version 1.2) by Classic co founder Derrick Carter—a distinctive and maximalist edit that draws out the Latin horns, strings, and quirky vocals, turning a cult hit into a distinctly ‘Classic’ anthem.

Record Two captures Classic’s renewed energy in the 2010s.

Folamour’s ‘Devoted To U’ from his Umami LP is a 10-minute odyssey in groove—warm, progressive, and cinematic, with soaring piano lines and narrative richness.

Then comes Crazy P’s ‘One True Light’, shimmering with spacey textures, cosmic energy, and the deep, effortless groove the band has perfected over decades.

On Side D, we have Girls of the Internet’s lush and emotionally rich ‘When U Go’, blending soulful vocals with clean, spacious production that balances melancholy with movement.

Closing out Volume 2 is Sophie Lloyd’s now iconic ‘Calling Out’, featuring the unstoppable vocal force of Dames Brown. A modern gospel-disco-house anthem, the track glows with raw energy, live instrumentation, and spiritual fire—cementing its place as one of Classic’s defining moments of the last decade.




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2




d B2. Markus Nikolai - Bushes (Derrick Carter's First Re-Creation) Version 1.2

Toni Wobble is looking back on over 20 years of roots in punk, free parties and political movements. From anti-nuclear activism to the Gaggeldub performances, Toni's dug deep into the Dub universe: from Dubstation to Rootsbase to Subardo. By 2012, Toni became a respected operator of Leipzig's Plug Dub Soundsystem. Soon after, he didn't hesitate to create the very own solar- powered Sunplugged sound. Toni's live dub sets hit with all depth and energy of low bass sound culture, shaking the foundations with refreshing freakuency adventures. After a guest spot on our 18th release, helping RUZ dubbing out a deep b-side, it's time to unleash the full Wobble fury on 45Seven!

Out In Da Streetz was born in a lockdown, when urban life got stall, opening space for experiments. Inspired by Juke and Footwork at nights such as Bassmæssage, Toni ventured into Jungle production - the genre him love from way back. The result is an opus of subs, breaks, skanks and dubs. Expect 30 Hertz bass, wobbly midranges, halftime snares and Jungle edits sharp like razor. Don't miss the Ini cameo and hand-made skank work straight from the lab. The result ain't just a track, it's a state of inner and outer emergency, a deep dive into groove, texture and creative chaos.

Irie Cruise rolls up like a cloud of green smoke riding through the streets with a sick ride in a surreal vibe. Rootsy rhythms meet subtle Jungle twists inbetween the twinkles of Dub and the flickers of breakbeats. When the hook drops, the impulse fires up, the lowrider bounces through the turns of skanks, throwing dub delays and gliding deep into the night. By the final tone, you didn't just take a ride, you're actually a bit closer to the sun.

Toni Wobble is giving the full hundred. Dub ain't just a genre, it's a portal to infinite spaces of sound. It's a culture, a process and an attitude, all about echo, bass and space. But it's also about experimentation, consciousness and transformation. Each delay loop is reshaping reality, tearing it down and rebuilding it from the ground up. D.U.B. equals to deep universal beats, the universal frequency... Deep, wide and open. Tune in and dub out!

Max Romeo and O.B.F link up on 'Badminded People'. Some proper heavyweight sound system science.

First cut as a rub-a-dub tune in Rico O.B.F’s studio, the track took a surprise turn when Mark Iration dropped by: “Try a 4-4 kick pon yahso”. Minutes later, the stepper version was born, pure shack-out business. You know we had to slap both cuts on the record!

Rinsed on dubplate by O.B.F, Iration Steppas and Dubkasm for years, this is our salute to Max Romeo's life and everlasting legacy.

French producer Fièvre drops his new EP *"Party Again"*, a bold fusion of dubstep and dub techno, featuring iconic grime MC Killa P. The project kicks off with an original mix laced with yardie vibes, followed by a deep, hard-hitting 2-step version. Special guest Hyas—one of the most exciting names in France’s breakbeat scene—jumps in with a razor-sharp, irresistibly catchy drum & bass remix. With *"Party Again"*, Fièvre delivers a UK-flavored EP built for sound systems!

Anstatt sich auf ihrem Legendenstatus auszuruhen, liefert die Münchener HipHop-Crew Main Concept zum 35. Jubiläum ihres Bestehens mal wieder Rap auf höchstem Niveau, kurz und knackig in Form einer 5 Track starken EP mit dem tre_¼Çenden Titel "Kontinuum" (Buback Records). Souverän wie gewohnt beweisen MC DavidPe, Beatproducer Glammerlicious und DJ Explizit erneut, wofür sie seit Jahrzehnten stehen: Lyrische Präzision mit Witz und Verstand, lässig pumpende Beats voller Seele und virtuose DJ-Action mit elegant platzierten Cuts. Dafür lieben Rapfans Main Concept und genau das bekommen sie auf "Kontinuum" serviert, obendrein noch garniert mit Featureparts von Retrogott, Heliocopta und C-Ras. 58er Rapshit! Die Kontinuität wird gewahrt.

2024 Reissue

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Among the most revered voices in funk, Marva Whitney holds a special place thanks to her fierce energy and unmistakable style on tracks like the classic 'Unwind Yourself,' a long-time favorite for DJs and dance floors alike. Emerging from the dynamic world of the James Brown Revue in the late 1960s--alongside iconic names like Lyn Collins and Vicki Anderson--Marva quickly carved out a name for herself. In 1969, she began recording as a solo artist under James Brown's King label, scoring a Top 20 R&B hit with 'It's My Thing.' While mainstream hits were few, her music resonated deeply with funk lovers and crate diggers around the world. Songs like 'You Got to Have a Job' and the endlessly sampled 'Unwind Yourself' have only grown in stature over the decades. Her album, "It's My Thing", dropped that same year and has since become a touchstone of the genre. Backed by the legendary JB's and produced by James Brown himself--who also contributed to most of the songwriting--the album captures a raw, unapologetic funk sound with a distinctly female voice at the forefront. From the explosive opening of 'It's My Thing'--a bold response to the Isley Brothers' 'It's Your Thing'--Marva channels sheer intensity, backed by a band that doesn't let up. The pace briefly softens with 'If You Love Me,' a soul soaked ballad in the spirit of Otis Redding, before diving back into the rhythmic grit of tracks like 'Unwind Yourself.' Decades later, "It's My Thing" continues to inspire, sampled by producers and treasured by collectors--a powerful snapshot of funk at its most uncompromising. Reissue on 180g vinyl.

Ben Pest and ARA-U unite for the next release on No Static / Automatic. Kaos Sympatic EP started life with the pair recording jams of various vintage studio kit, including an EMS VCS3, Roland VP330 and an Orgon Systems prototype known only as the “Silver Box”, which developed into full tracks over subsequent sessions. Ben Pest has been busy releasing high grade club tracks including collabs with Radioactive Man and Kursa for Asking For Trouble and Love Love Records last year, and with solo EPs dropping on Cultivated Electronics and Posh End music. Here he links with NS/A boss ARA-U, turning out some of their headiest material to date.

The EP kicks off with ‘Err Hello’, it’s wholly discordant, lairy, and unapologetically weird. ‘‘Get A Grip’ drifts in with hallucinatory wafts of sound over a warped riff, building into a granular, distorted headfuck of a hoover-bass moment. This one will make the subs rattle on the right side of distortion. On the B Side title track ‘Kaos Sympatic’ gets stuck in with a big broken beat and guttural sub that transforms into a techno drop to drive this track home. Finishing up, ‘Slapback’ serves up a cut of high energy electro funk, coming off like classic ERP on heat. Limited edition purple vinyl.

- 7 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft und Maya Kuroki

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet. Die in Montreal ansässige Band TEKE::TEKE wurde beauftragt, der flinken und verstohlenen Protagonistin Naoe mit ihren eindrucksvollen "Needle Drop"-Story-Momenten Leben einzuhauchen.

Die Surf- und Psych-Rock-Einflüsse der Gruppe passten perfekt zur Ausrichtung des Spiels, da die Entwickler bei der Suche nach Musik für "Shadows" an einen Soundtrack von Quentin Tarantino dachten. Die Band hatte die Aufgabe, Jesper Kyds ikonisches Serienthema "Ezio's Family" zu interpretieren - ein Fan-Favorit, der normalerweise als Teil der Filmmusik adaptiert wird.

Die Mitglieder von TEKE::TEKE sind durch ihre japanische Herkunft eng mit dem Setting des Spiels verbunden. Passenderweise hat die Band durch ihre Recherchen und die Einbindung in das Projekt die auch im Spiel zentrale Philosophie der Shinobi, "Shinobi-Do", aufgegriffen.

- 7 Tracks aus dem Open-World-RPG-Actionspiel von 2025
- Artwork von Ubisoft und Maya Kuroki

Ubisoft und Laced Records haben ihre Zusammenarbeit erneuert, um die Musik von Assassin's Creed Shadows auf Vinyl zu veröffentlichen.

"Assassin's Creed Shadows" entführt die Spieler:innen in die reiche Kulisse des feudalen Japans und wird von einem Soundtrack untermalt, der traditionelle Instrumente mit verspielten, modernen Techniken verbindet. Die in Montreal ansässige Band TEKE::TEKE wurde beauftragt, der flinken und verstohlenen Protagonistin Naoe mit ihren eindrucksvollen "Needle Drop"-Story-Momenten Leben einzuhauchen.

Die Surf- und Psych-Rock-Einflüsse der Gruppe passten perfekt zur Ausrichtung des Spiels, da die Entwickler bei der Suche nach Musik für "Shadows" an einen Soundtrack von Quentin Tarantino dachten. Die Band hatte die Aufgabe, Jesper Kyds ikonisches Serienthema "Ezio's Family" zu interpretieren - ein Fan-Favorit, der normalerweise als Teil der Filmmusik adaptiert wird.

Die Mitglieder von TEKE::TEKE sind durch ihre japanische Herkunft eng mit dem Setting des Spiels verbunden. Passenderweise hat die Band durch ihre Recherchen und die Einbindung in das Projekt die auch im Spiel zentrale Philosophie der Shinobi, "Shinobi-Do", aufgegriffen.

Badboy garage is the order of the night on this latest drop from the unstoppable Instinct label. It's a split EP between Isgwan and Trustee, and the offer kicks off with the low slung swagger and warped bass of 'Right Tehn' complete with gun-finger synths and nawty vocals. Trustee then steps up with some expertly crafted jungle breaks turned 2-stepping beats on 'Watch Dat' with mad low energy wobbles. His 'Shuffle N' Step' is another lip-curling and rude as you like bit of filthy garage, 'Feel Me' (feat Tanya George) is a more emotive sound thanks to the buttery r&b vocal hooks and 'Work Set' shuts down with bumping low-end pressure.

Sophisticado Recordings label head Vick Lavender hails from Chicago and is doing fine work to continue the city's house legacy. Back in January, he dropped the superb Time Traveler album and is now back with a cheeky one-sided 12" on limited white vinyl that draws on some mad classic sounds, all worked up into a super funk and jazzy jam that's layered up with Rhodes jams, splashy cymbals, rubbery and rolling baselines and organic percussion. It's the sort of steamy session to get cosy backrooms really heated up and boiling over. Another standout from Lavender.

Born 2 Be Free continues its good early work with another dose of UKG old skool magic. It comes from the label head Azaad, whose previous drops have all sold out in quick time, and this one will likely do the same such is its magnetic appeal. The Londoner opens up with 'Caliente' and rides on bumpy drums with some turbo-charged stabs injecting the heat. 'Feel It' bobble along with cute chords brings a balmy feel next to whispered vocals and low slung bass for maximum lip curl. 'I Want You' brings another timeless vibe with its neon pads and cuddly, immersive atmosphere then the Az Gets Deep mix sets down with some extra depth and drive.

Next up on Luke Slater's Mote-Evolver is Primal Instinct co-founder Chlär with the 'Topography' EP. It follows his debut album, 'The Architects of Shadows', which came out on Primal Instinct at the tail end of 2024, and sees the Swiss-bom, Germany-based artist deliver four more tracks of unmistakable, dance-floor-primed Chlär sound.

Chlär's 'Topography' EP embraces Mote-Evolver's tradition of deeper groove Techno with finesse, seeing 'Altitude' kick off proceedings as a heads-down slice of hypnotism featuring can't-miss Techno rhythm while otherworldly creatures add to the atmosphere. 'Serac' then delves even further, its effective bassline welded together with subtle sequences before we flip the record around for 'Lamin', a track rife with ghostly dub chords and remnants of a vocal sample. Closing out the trip is 'Phantom Grid', a clap riding its groove as it builds the intensity, dropping the pressure with hammering kickdrums and excellent, warped percussion for another lose-yourself club offering from the ever-promising Chlär.

Born Osborne Ruddock in Kingston in 1941, he grew up around High Holborn Street in Kingston, before moving to the new Waterhouse district in 1955. His electronic genius grew from working and fixing radios and TV sets. A natural progression led to working with amplifiers, and starting his own sound system, 'Tubby's Home Town Hi-Fi'. A very competitive games i the late 60's. You were as good as the EXCLUSIVE records you played.
Tubby discovered during his time cutting discs for Duke Reid's Treasure Isle set up, that by dropping vocals/instruments in and out of the backing tracks, you could invent new versions of existing old tunes. These early versions tried and tested on his sound system went down so well that he invested in a four track mixing console with delay echo effects, sliders and phasing units and so began King Tubby's 'Studio Of Dub' at 18 Drummlie Avenue, Kinston 11 , Jamaica...His Home.....
This is where all the producers would bring their tracks for Tubby to put his magic over. Most tracks that came out in Jamaica from here on in would carry a 'Version' on it's B- Side more than likely a Tubby Dub.
One of the producers who used him the most was Bunny Striker Lee, who's labels Jackpot, Justice and Attack all carried Tubby's mixes/versions on their flip sides.
Our collection here, all taken from original master tapes you might have heard the tracks before but not these versions....Lost in the vaults till now. So sit back and enjoy the dub master at work.

RESPECT.... JAH FLOYD

Track 1 CHERRY'S DUB
We start off with a very early version of Eric Donaldson's 'Cherry O Baby'.
This version was recorded at Dynamic Sounds, in 1971 and has remained lost on master tape until now.

Track 2 FRENEMY DUB
This classic rhythm known as 'Mad Mad World' and 'Crying in the Ghetto' both voiced by Winston Jarret
got worked on by Tubby as an exclusive mix for his sound system. Released here for the first time featuring
the late, great Jacob Miller on dubbed vocal.

Track 3 FALLING FOR DUB
A version here of Cornell Campbell's 'My Whole World is Falling Down' Tubby in fine form.

Track 4 DUB ON THE STREET AGAIN
Yes my friend The Street Again finds Cornell Campbell's vocal dubbed King Tubby Style Nice Rockers drums from Sly Dunbar.


Track 5 DECEIVING THE DUB
Sly and Robbie dubbing up Delroy Wilson's ' So Long Jenny' with King Tubby at the boards

SKA was the name given to the music that came out of Jamaica between 1961-1966. Based on the American R&B and Doo-wop records that the Sound Systems in Kingston Town used to play. However, the American records style started to mellow out, while the Jamaicans preferred a more upbeat sound. So the Sound System bosses became record producers to cater for this demand. Sir “Coxonne” Dodd and Duke Reid led the way putting the top musicians on the Island in the studio to make music unmistakably Jamaican. A lot of their early recordings were cut at Federal Records before they built their own studios.

Federal Records was the first domestic Jamaican studio, based at 220 Foreshore Road, Hagley Park, Kingston. It opened it’s doors in 1961 owned by Ken Khouri who first licensed American records to the island of Jamaica, before cutting his own tunes, which were some of the first Jamaican RnB and Ska singles. Ken Khouri initial studio was Records Limited but very basic so with the help of engineer Graeme Goodall built the new studio complex at 220 Foreshore Road which also contained a pressing plant and disc cutting room. The studio was not only the forerunner for Ska music but the music that followed and in 1981 Ken Khouri sold the complex now on the renamed road Marcus Garvey Drive to Bob Marley who renamed the premises Tuff Gong Studios whose legacy carries on today.

We have compiled some of the best SKA SOUNDS that came out of the Federal Vaults, with some of the best artists, musicians from the time. The great Lord Tanomo, Don Drummond, Rico Rodriguez, Roland Alphonso, alongside some lesser known artist. However, one thing is for sure, the quality never drops on this fine collection of Ska Hot Tunes……

For her sophomore outing on Razor-N-Tape, Megatronic drops There’s Truth in Gospel, an extended concept EP built around the idea of a modern-day gospel congregation, reimagined through the lens of soulful, high-energy club sounds. Its six soulful house tracks explore vibrant layers of live instrumentation, from trumpets, flutes, and diverse percussion styles that breathe warmth into the sonic palette of the record. Featuring the voices of Fawziyya Heart, Aku, and Chiqo Casidi, and gorgeous artwork that perfectly captures the rich concept of the music, There’s Truth in Gospel is an ode to unity, joy, and collective celebration.

Returning to Curvature for his eagerly awaited second EP, Senses brings an impressively varied array of atmospheric jungle to the table, drawing from a multitude of influences across the musical spectrum with Convex Reflex.

A1 - Ratio
A break-laden intro lays the groundwork for a considered foray into the old-school - Senses flecking the mix liberally with synths and female vocal hits of yesteryear, before the welcome crunch of thunderous amens takes over. A cascade of rip-roaring edits
floods the track taking you on an epic ride through the ages, breaks chopped with riotous energy confirming this track as a perfect DJ tool for the dancefloor.

A2 - Sun Runner
Beautifully crisp drums open a DJ-friendly intro to Sun Runner, delightfully clear sounding with distinctive cymbals, a thick snare and subtle bongos. An airy soundscape soon washes into the mix with calming synths and flutes, creating a delicately jazzy blend of styles with soothing melodies contrasting perfectly with the breaks. More pronounced synthwork follows to spice things up as the bassline rumbles along below.

B1 - Spirit Vector
Dense atmospherics are the order of the day as Senses deploys Spirit Vector, opening with an array of synths and strings to create an intro reminiscent of Intense's work in the late 90's. Soon we are treated to a paradoxical assortment of heavy amens that work impeccably in the mix - thundering forth with pads soaring high and a heavy sub bass below. Various instrument samples litter the breakdown before a vocal sample declares "Yes". Yes indeed.

B2 - Still
Closing the EP in style, Still opens with sparse breaks, lightly building with extremely subtle apache breaks in the backdrop with sporadic keys and smooth pads. The drop arrives with warm, room-filling basslines and synths to elevate the atmosphere alongside luscious flute samples.Layers are added to the excellent breaks as Senses sprinkles instrument samples, keys and a classic female vocal, completing a joyous composition for Curvature.

Words by Chris Hayes (Spatial / Red Mist)

* Blocks & Escher return to release on their own Narratives Music imprint with a double A side single, highlighting all of the musical emotion, production detail and bass weight, for which they are so highly regarded.

* Tracklist:
A. Charm Pt1 & Pt2: After five years with no release, Narratives Music is a fitting platform for the statement lead track “Charm” which disregards current trends and presents a full 11-minute journey through colors and moods. From the soothing nostalgic chords of the intro, Charm builds up through two contrasting movements, opening to a switching crescendo of bass hits at the mid-way point before delivering a cavernous “third drop”.

A2. All That Glitters: A long introduction intertwines tones of sorrow, joy and longing through its strings, guitars and vocals. This track breathes with space and beauty - even when the drums finally arrive, the intricate beat and low bass has air and a maturity to move a dancefloor without compromising its essence. This track has been a regular intro for DJs throughout the summer of 2025.

From the bellows of a galactic abyss, n-trip offers their first solo EP release on DU:RA. The label boss reveals 4 deep techno tracks cultivated from an appreciation of the stylings of Valentino Mora, Ntogn and Simone Bauer adjacent sound palettes. Attending festivals such as Organik and experiences with deep techno doofs out in the Aussie bushland has also heavily influenced this release.

Reservation and propulsive sound design shape the tracks for the most part, while aspects of field recordings are littered throughout the release of rocks, leaves and sticks from recent travels. The structural simplicity and minimalistic elements make for perfect DJ tracks to accompany swamp-like sets and throbbing sub basslines are sure to shake any doof or club system.

‘Domina’ opens the release with chiming pads and heavily delayed artefacts invoking an ethereal cosmos of which the kicks and bass gently reinforce in movement. A broken snare beat follows as gradually layers of percussion increase in intensity.

‘MML’ takes what energy has built and adds pounding toms to the rhythm. Harsh live synthesis swells in the backdrop as hi-hats and clicks pan around the white noise and minimal yet intentional synth work.

‘dddBBB’ drops the tempo as it comes in full of field recordings. Taking you on a bushwalk through a desolate dreamscape – it slowly grows and pulsates like a giant snake writhing through the cosmic jungle, stalking its prey.

‘MR13’ then takes these ideas and jacks up the tempo to finish off the release. Shakers pan about as sticks, rocks and leaves reinforce the rhythm. FM chords slowly add life to the beat and are accompanied by giant bassy pads that gradually coalesce into its humble yet driving finale.

All tracks have been produced on Gadigal Land. Always was, always will be Aboriginal Land.

Eine halbe Dekade nach der Veröffentlichung ihres Albums "Anak Ko" (2019) hat sich Melina Duterte, alias Jay Som, sich selbst und ihren Erinnerungen geöffnet und Songs geschrieben, die den Klang ihrer Jugend wieder aufleben lassen, und dabei ihre Erfahrung als Musikerin, Produzentin und Performerin einfließen lassen. Kein vorheriges Jay-Som-Album klingt so wie "Belong", ein packendes 11-Song-Set über Selbstdefinition und Zugehörigkeit, das zwischen kraftvollen Power-Pop-Hits und verschwommenen Balladen, zwischen elektronischen Kuriositäten und aufheiternden Hymnen schwebt.

Melina wuchs mit Alternative-Rock außerhalb von San Francisco auf und lernte als Teenager die Hits des Pop-Punk/Emo der frühen 2000er auswendig. Passenderweise ist es Jim Adkins (Jimmy Eat World), einer dieser Kindheitshelden, der bei "Float" die backing vocals übernimmt. Während Hayley Williams sanfte Harmonien auf dem schwungvollen "Past Lives" beisteuert und Lexi Vega (Mini Trees) zu "Cards On The Table" beiträgt, sind diese drei Jay Soms allererste Gastsänger*innen und repräsentieren Dutertes Bestreben, mit Menschen ihres Vertrauens Neues auszuprobieren.

Seit ihrem letzten Album hat Melina beschlossen, sich selbst und ihrem lebenslangen Interesse am Recording etwas zu gönnen. Mit dem Kauf einer alten Neve-Konsole nahm sie sich vor, mehr zu werden als nur ihre eigene Tontechnikerin zu Hause. Fünf Jahre später kann sie nun auf eine umfangreiche Liste an Produktions- und Mixing-Credits zurückblicken, darunter auf Lucy Dacus’ neuestem Album "Forever Is A Feeling", Gastauftritte an der Seite von Troye Sivan, No Rome und beabadoobee, einen Beitrag zum Soundtrack von A24s "I Saw The TV Glow" und einen Grammy für ihre Arbeit an "The Record" von boygenius, der Band, der sie später als Tourmitglied beitrat.

Mark Fell inaugurates his new label – The National Centre for Mark Fell Studies – with his first solo electronic material in years; a slinky, ravishing volley of unique dance drills that have been in the works for over a decade, feeling somehow like Derek Bailey dissecting Singeli, or Autechre and Hermeto Pascoal dancing in hyperspace. There’s nothing else quite like it.

Back on the floor for the first time since dealing a pair of deep house 12”s with DJ Sprinkles, sending a contemporary classic in »Protogravity« with Errorsmith, plus a lauded collab with Gábor Lázár – all in 2015 – Fell taps back into core club concerns last explored to this uncompromising extent on his string of »Sensate Focus« EPs released between 2012–2013. He’s hardly been slacking since then, with a slew of far-reaching avant collabs with everyone from Rian Treanor to Limpe Fuchs, Okkyung Lee to Pat Thomas, Explore Ensemble to Will Guthrie – each one blurring distinctions between producer, composer, and conductor.

The »Nite Closures« EP is worth the wait – and then some. As ever, Fell manages to retain a highly distinctive, instantly identifiable sound while also tracing and mapping new bends in the continuum. His exploration of contemporary styles and patterns is here distilled and articulated with a rare, daring playfulness and sinuous intricacy – for over half an hour he flows from frantic to almost emotional at the drop of a snare. Trust it’s not your everyday / everynight club music, with an asymmetric angularity bound to wrong-foot fresher feet, but also the type of absolutely future-facing, skewed machine funk that clubs are crying out for, even if they don’t quite realise it.

As someone who’s witnessed the dominance of colouring-book Jive Bunny DJs recycle tested ideas ad infinitum, the message is a firm do-one to myopic ravers in »Nite Closures«. From the displaced anticipations tested in its extended dub and ravishing, tweaked polymetrics on its version, through a »Large Modulos #3« teeming with organismic details, to the hair-kissing swang of »auchterhouse (inversion)« and its clipped, cascading 2.1-step reprise, Fell offers thrilling new options for the loosey-gooseyest dancers at each turn. For us, it’s perhaps his greatest record this century.

Perc returns to Perc Trax for his first full EP since the release of his Resident Advisor recommended album 'The Cut Off' in March 2024. Across the three tracks of 'Soft Launch' Perc sets out his current sound, a groove led take on classic techno with the depth of production and unexpected twists that Perc's tracks are famous for.

Title track 'Soft Launch' is based around the interplay between the three main elements of the track, the driving kick & bass, cut up percussion loops and the ever building string chords, creating something unique that has been a key track in Perc's sets since it was completed.

'Tonight' sits somewhere between pulsing electro and gritty lo-fi techno, constantly pushing forward as a female vocal breaks through the wall of percussion demanding to hear something fresh.

Finally 'Gravity Drop' pushes the sound design further, mixing a crisp industrial kick drum groove with cut up atmospheric melodic and vocal elements creating a psychedelic dreamlike atmosphere to close the EP. Packaged in a full colour sleeve designed by Perc Trax design god Jonny Costello, Perc's Soft Launch is a statement of Perc Trax's future both sonically and visually.

Following up the big room belters on Pablo and Shoey 'Raw Human Emotion' EP was going to be quite the task for those lovable Dublin disco messers at Fatty Fatty Phonographics, so they handed the reins over to one of the true maestros of the artform - NYC legend Mr. K.

The A-side is a propulsive extension of 'Let The Sunshine In', featuring ecstatic, gospel-shouting breakdowns. Dropped at the right moment, this is one of those tunes that brings everyone together with that look on their face, the hairs on the back of the neck standing up, arms instinctively flying toward the sky, disco fingers aloft...Excuse us, we just have something in our eye here...

Flip it over for a serious one for the heads...A few years ago Mr. K put out '1,2,3' on a 7-inch on the aptly named Most Excellent label. It was an edit of a roaring clav-funk number from the acetate collection of the legendary 'DJ's DJ' Walter Gibbons.

The Fatty folk persuaded him to revisit it, and he did a magical job of extending it out across the full 12 inches of vinyl, just the way the good Lord intended. 2 sides of utter dancefloor devastation here, be quick!

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by."

Another sureshot heater from a magnificent underground label with a cult following, Adeen Records drops AR026, a landmark release uniting two titans of house music: New York's legendary Pal Joey (Joseph Longo) and Chicago's iconic voice Robert Owens. Side A's 'The Me Inside' is a masterclass in deep, soulful club music. Joey lays down a signature groove-hard-hitting drums and lush piano chords-while Owens bares his soul, asking listeners to witness the vulnerable core of his artistry. It's a heartfelt vocal performance rooted in classic Chicago house, paired perfectly with Joey's unmistakable production style. An instrumental follows, ideal for DJs keeping the vibe deep and emotive. Flip to Side B and you'll find Paolo Aniello aka New Digital Fidelity bringing the heat. Known for his work on Snuff Trax and collaborations with house luminaries, Paolo delivers a pulsing, bass-heavy dub remix that's built for peak-time floors. When legends align, magic happens-AR026 is a future classic.

cv313 and Federsen join forces again for the ‘Altering Dimensions Part One’ release, the initial drop in a series of collaborations which will later form together as one long player project.

Detroit-based dub techno pioneer cv313 (Stephen Hitchell of Echospace fame) and Federsen join forces on the forthcoming collaborative EP Altering Dimensions via Federsen’s own Alt Dub imprint. cv313, known for landmark releases such as Seconds to Forever and the deeply influential Dimensional Space LP, has been central to shaping the modern dub techno sound, blending immersive atmospheres with hypnotic rhythms. Federsen, celebrated for releases on Echospace Detroit, Grayscale, Synchrophone, Lempayung, Avant Roots and others. has also established himself as one of the genre’s most forward-thinking producers, bringing a meticulous, analogue driven warmth to his productions. Altering Dimensions marks a meeting of two highly respected producers in contemporary dub techno, bridging Detroit’s timeless legacy with Federsen’s cutting-edge sonic explorations.

The release comprises four alternate interpretations of the title-cut and leading the way is the original mix of ‘Altering Dimensions’, a seven-and-a-half-minute excursion through weighty low-end pulsations, spiralling atmospherics and ever unfolding nuance throughout. The ‘Redesign’ follows and shifts gears into a more robust deep techno realm as cavernous reverberations and shifting echoes ebb and flow alongside murky bass and sturdy drums.

The ’Dub’ mix follows on the flip-side, as the name would suggest laying focus on a more classic dub techno style with crisp percussion, billowing spaced out delays and vacillating subs before the ‘Reduction’ mix concludes the project, as the name would suggest stripping things down to the composition core atmospherics elements alongside oscillating percussive elements and fluctuating pads.

Dj Fly, DMC Legend with 4 DMC World Champion titles including 2024, France's most successful turntable player, presents his first Battle break / Dj Tool Vinyl!
With 19 tracks, you'll find an ultra-complete Dj Battle Tool including Skip Proof Scratch, Cuts, Tools, Sentences, Beats and Continuous Sound!

It's a limited edition of 300 copies, including a digital download coupon!

Black 12” vinyl.

At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.

‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

- Ltd. Col. 2LP: (Silver 2LP/Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Mit ihrem neuen Album 'For The People' kehren Dropkick Murphys zurück zu ihren Punk-Wurzeln - laut, kämpferisch und voller Haltung. Zwischen Klassenkampf und Familiengeschichte, zwischen Protestsong und Pogues-Hommage - 'For The People' ist mehr als nur ein Albumtitel. Es ist ein Statement gegen Ungerechtigkeit, für Menschlichkeit und Solidarität.

Produziert von Langzeit-Weggefährte Ted Hutt und mit Artwork von Shepard Faireys Studio Number One, erscheint das Album über Dummy Luck Music / Play It Again Sam digital am 4. Juli (passend zum US-Unabhängigkeitstag) und am 10. Oktober auf CD und 2LP. Die Vinyl-Version kommt mit fünf Bonustracks.

Ob mit der ersten Single 'Who’ll Stand With Us?' oder der bewegenden Shane-MacGowan-Verneigung 'One Last Goodbye' - Dropkick Murphys liefern den Soundtrack für alle, die sich nicht mit der Welt, wie sie ist, zufriedengeben. 'For the People'!

Gatefold mit Etching einer schwarzen Rose auf der D-Seite + Faltposter)

Italian producer, musician, DJ, and groove architect Sam Ruffillo drops his long-awaited debut album Tipo Così on Toy Tonics – a sun-drenched, genre-blurring statement that blends classic house with Mediterranean flair, romantic funk, and tongue-in-cheek Italo vibes. Over 11 expertly crafted tracks, Ruffillo delivers a dancefloor-ready, emotionally rich LP that connects deep musicality with irresistible rhythm and light-hearted elegance.

After three acclaimed EPs and collaborations with revered artists such as Barbara Boeing, Kapote, and Fimiani, Ruffillo has firmly cemented himself as a core artist on the Berlin-based label. Known for his unmistakable signature sound — a warm mix of vintage disco, 90s house, and Italian vocals — Sam’s music has garnered widespread DJ support from tastemakers like Gerd Janson, Palms Trax, Seth Troxler, and DJ Tennis, while becoming a staple on Italian airwaves. His infectious summer anthems like Danza Organica and Perfetta Così have soundtracked countless club nights and festivals, creating a loyal following that eagerly awaited this full-length debut.

Tipo Così is the natural culmination of a musical journey that’s both playful and profound — a travel diary written in grooves, synth stabs, and melodies that feel like postcards from a parallel Mediterranean universe. The album expands and deepens Ruffillo’s world into a fully immersive experience: lush emotional chords meet tight syncopated grooves, vintage synth textures collide with irresistibly catchy pop refrains, and the boundary between sincerity and playful irony is exquisitely blurred.

Entirely written, produced, and recorded in Italy, in his beloved hometown of Bologna, the album finds Ruffillo at the helm on keys, drum machines, and production, supported by a talented cast of musicians contributing live bass, guitar, and other organic elements — further enriching his trademark fusion of electronic grooves and natural instrumentation. There’s a tactile warmth in these tracks, a hands-on feel that adds soul and depth to every beat.

This album also marks Ruffillo’s heartfelt return to singing in Italian, with standout tracks like House Tipo Così, Mi Fa Volare, Ancora, and Dentro Di Me, where romantic naïveté meets pulsing club energy in a way that feels both timeless and refreshingly new. The vocal performances add an intimate, human touch to the music, reinforcing the personal stories woven into each song. There’s poetry in the casual, a bittersweet elegance in the way the lyrics float over groove-heavy production.

Having toured extensively across Europe, Australia, Indonesia, New Zealand, and Mexico — with sets at iconic venues like Panorama Bar and festivals such as Sónar Barcelona — Ruffillo has fine-tuned much of this album in front of live audiences. The real-world testing ground infused the record with a dynamic energy and immediacy that only comes from genuine crowd interaction. These songs weren’t just made in the studio — they were lived on dancefloors around the world.

Tipo Così is not just a collection of tracks. It’s a philosophy — playful, stylish and unmistakably personal. A modern club album bursting with heartfelt emotion and sophistication. Music for dancers with taste; for lovers of beauty, rhythm, and the little imperfections that make things feel real.

But what exactly is Tipo Così? More than just a phrase, it’s a way of being. It’s about embracing elegance without effort, mixing irony with sincerity, and letting nostalgia slip into the room without taking over the party. It’s Sam Ruffillo’s signature language: relaxed, confident, meticulous yet never rigid — where a chord progression can say as much as a lyric, and every beat carries intention.

The album’s visual identity complements this vision perfectly. The artwork and promotional materials lovingly reference Italian design from the ’80s and ’90s, combining bold graphic elements with playful pop culture nods. This aesthetic mirrors Ruffillo’s music — a fusion of vintage warmth and contemporary freshness, delivered with authenticity and charm.

Sam Ruffillo belongs to a new generation of European artists who are reshaping electronic music by blending past and present, analog and digital, groove and emotion — without nostalgia or pose. His artistic universe is coherent, vibrant, and alive; a rich tapestry of sound, images, and stories that coexist with lightness, precision, and a distinctive voice.

Reflecting on his artistic journey, Sam describes music as a vital, deeply human impulse — a tribal connection to rhythm and body that has driven him since he was a teenager. His creative process balances meticulous planning with room for spontaneity, usually sparked by clear melodic ideas that evolve naturally. Collaborations with close friends, especially vocalists like Ninfa, add warmth and authenticity, exemplified in tracks like “House Tipo Così.” For Sam, music is honest self-expression — crafted for listeners who crave memorable melodies and rhythms imbued with genuine feeling.

While technical perfection is tempting, Sam prioritizes emotion, knowing that what truly resonates is the soul behind the sounds. His long-standing partnership with Toy Tonics has been key in nurturing his vision, offering a blend of creative freedom and professional support. Looking ahead, Sam Ruffillo is excited to broaden his live performances, and release new projects that continue to blend electronic grooves with organic, heartfelt sounds — maintaining the delicate balance between playful irony and sincere emotion that defines Tipo Così.




Kurzversion:
Italian DJ, producer and musician Sam Ruffillo drops his debut album Tipo Così on Toy Tonics - a sunny blend of house, funk, Italo and pop, full of groove and emotion. Written and recorded in Bologna with live instruments and Italian vocals, it’s a playful, elegant journey shaped on dancefloors worldwide. A stylish, sincere club album where nostalgia, irony and rhythm meet in perfect harmony.

- Mi Fa Volare
Road-tested across continents and now finally released, “Mi Fa Volare” channels 90s uplifting euphoria with big breakbeats, lush chords, and Italian vocals built to stick. Somewhere between balearic bliss and piano house nostalgia, it’s a feel-good club weapon made for peak-time moments - already sung back by crowds after just one listen.


- Ancora
“Ancora” is a vibrant hi-NRG track inspired by 80s Italo disco, sung entirely in Italian. It blends driving rhythms with dreamy melodies, capturing the radiant spirit of the decade. This fresh yet nostalgic song delivers euphoric vibes and timeless energy, making it a perfect fit for both dancefloors and reflective listening moments worldwide.


- Dentro Di Me
“Dentro Di Me” channels ‘90s sensuality through a fast-paced, UK house-inspired lens. Entirely in Italian, it’s a bold and contemporary dance track where hypnotic vocals meet high-energy grooves. Blending nostalgic textures with forward-thinking production, the result is a seductive and euphoric trip - equal parts emotional and club-ready.


- Amigo
“Amigo” blends Latin groove, acoustic guitar-driven rhythm, and Mediterranean flair into a warm, magnetic, cross-cultural dance anthem. Sung in Spanish and Italian, it celebrates connection, inclusivity, and the joy of moving together - whether stranger or friend. With its unstoppable rhythm and vibrant energy, it’s a feel-good track with a unifying spirit.


- Ma Sei Fuori
“Ma Sei Fuori” is a tongue-in-cheek dancefloor bomb blending raw house energy with catchy vocal phrases and a nod to classic French touch. Driven by hypnotic vocal lines and a playful attitude, it doesn’t take itself too seriously - while still proving serious club impact. Built for late-night moments, it’s bold, bouncy, and impossible to ignore.

Explosive madness from one of the UK underground rave music scenes unsung heroes, Warlock - under his Hooverian Blur moniker, debuting on the label with a heavyweight set of bangers!

He’s the type of guy who rocks up to the shop with two bags of tunes and gets stuck right in - never takes long to get the system pumping & people moving! We were very excited when he dropped a folder of demos over last year, and had to bite his arm off so we could get them out there as soon as possible!

Huge love to all support for the shop, label, and the recent move & opening of our late night bar in New Cross - it’s turning out to be a really special place, and perfect new HQ for us and our community.

Large ups Benton, Dawl, Dwarde, Emerald, Nia Archives, Pete Canon, Sully on the early support of this one. Not forgetting Antek, Borai, Drumskull, LMajor, Mani Festo, Uncle G, WNCL & all that like it breakbeat heavy!”

Planet Wax Team
(Dexta, Lewis, D-Lo, Lis, Jenn, Roman, Errol, Castro, Lauren, Josh, Max & Chano)

Emily A. Sprague's Cloud Time traces an audio-spiritual journey through time and place, recorded across a long-awaited debut tour of Japan in the fall of 2024. Compiled from environmental improvisations captured in and for the moment, material at once welcoming, responsive, and inimitable, the album distills a voyage guided by psychic wayfaring, unbound presence, and activating performance for a reciprocal exchange with space, listener, and each fully engaged instant. The Japanese tour documented on Cloud Time held an almost mythic significance for Sprague, taking on properties of her own sonic white whale. After many near-departures and dropped plans to play in the country, "the empty spaces of cancelled trips and forgotten music turned into strange little misty spirits that I felt followed by," she says. "When I began preparing for the tour, I couldn't shake a sense that the invitation to Japan was more about opening myself up to this new place instead of bringing something into it tightly under my control. Improvisation has always been such a pillar in my music practice, and I really wanted to meet the country, spaces and people through that process." To amplify these intuitive whispers on-stage, Sprague reimagined her time-tested live rig, designed to be as free from error as possible, as a looser, more flexible set up that would allow her to interface with what was essentially a blank sonic canvas every night. Each performance became a collaboration between environment and instinct, Sprague processing the events, energies, and emotions informing the evening through her new sound ecosystem, and projecting an entirely present and unique version of herself to each open-eared and hearted crowd. "It was very much more than just an act of playing for me, but a total experience of time and place," she says. The seven long-form pieces that plot the course of Cloud Time, excerpted from over eight hours of recordings archived on the artist's on-stage recorder and generously shared on the album with no additional mixing and only minimal editing, invite listeners to become still in these deep-rooted moments of presence as the album moves from city to city, venue to venue. Cloud Time chronicles material recorded at each tour stop, Sprague selecting and sequencing the album around mood-based storytelling more so than linear chronology. "I tried to make the whole album flow in the way that any one of the complete live performances did," she explains, "while also keeping the spirit of the whole thing as a journey." The result is equal parts travelog, love letter, and impressionistic collage channeled from the potent ferment of a now encased in the glowing amber of memory. Intrinsically inspired by kankyo ongaku, an environmental music philosophy, known both in and widely outside of Japan that tunes into the similarly expansive ethos as Pauline Oliveros' deep listening practice and posits the listener as composer, Cloud Time is ambient music that seems to be listening right back, grounded in heartfelt synthesized frequencies that abundantly hold and heal. Pieces like "Nagoya," "Tokyo 1," and the ten minute "Matsumoto" in particular hum with the atomic resonance of gently tended landscapes, offering space for tuning way in and dropping far out from perspectives that stifle and bind. Cloud Time is an invitation to embrace each moment as both fleeting and eternal, floating by with nothing to grasp onto and absolutely everything to gain. The exercise in acceptance and letting go that Sprague practiced throughout the tour deeply impacted her understanding of self as both a guest and venerable performer. "The process of loving wherever I am, being present and focusing on a clear channel of communication for mind and emotion, rooted so deeply in respect for the space, those within it, and myself, ended up being profoundly healing," she says. "My vision and hope is that this album can be released as a gift back to anyone who either was or wasn't there. A cloud time of life passing by." Emily A. Sprague's Cloud Time will be released Friday, October 10th in vinyl, Japanese import CD (via Plancha), and digital editions.

“Hosono-esque vocals, dub beats and reggae vibes infused into ethereal dreamy mellow rock.”

The album just sucks you out of the current place and state you are in. And drops you 40 minutes later back. Whenever you put it on turntable, it opens a 5th dimension for you. Which is unfortunately limited with only a 40 minute stay.

Originally released in 100 copies by a mysterious Japanese underground band in 1985. Sold at their local festival on Mount Kyogamaru. No one ever heard about them ever since.

Critics and authors have described Revolution Dub as one of Perry's most important and exemplary albums.
Limited edition of 1000 individually numbered copies on orange coloured vinyl
Revolution Dub is a studio album by Jamaican's legendary dub producer Lee Perry and his studio band the Upsetters, and was originally released in 1975 .

Critics have described Revolution Dub as one of Perry's most important and exemplary albums, although some consider
it one of his more overlooked productions. The use of sampled television dialogue has been highlighted by several writers as innovative
for predating the sampler and for its unusual context, while the album was later influential on artists including Stevie Wonder and Holger Czukay.
Revolution Dub is now available as a numbered limited edition of 1000 copies on orange coloured vinyl.