Cerca:dur

Italian artist and researcher Mariachiara Troianiello is Katatonic Silentio, and is an artist able to move fluidly between club culture and experimental practice. A DJ with more than 15 years behind the decks, her selections can drift from musique concrete, ambient, spoken word and global soundscapes to the harder edges of techno, drum & bass, and leftfield electronics. Her work also explores how sound interacts with space and the body and on Lysergic Induction Forge, she dips into IDM, electro, ambient and dub. 'Velvet Dweller" gets underway with warped synths and liquid rhythms, 'Dubbin'Acid' is a slow, percolating rhythm and 'Psychoactive Groove' sounds like the innerworkings of a brain during a psychoactive experience. 'Acid Foundation' closes with a gentle acid-laced ascent. Classy stuff.

From the heart of Tamanrasset in South Algeria, Imarhan transcend Tuareg tradition, weaving hypnotic synths into desert blues. The result is a timeless work—deeply respectful of their roots, yet alive with a stirring sense of modernity.

ESSAM is the band’s fourth album, recorded with the same core lineup, but marks a significant shift in their sound and approach. Musically, it marks a departure from the rocky, bluesy, psychedelic Tuareg guitar-driven sound influenced by Tinariwen’s heritage — moving toward something more open, modern, and exploratory.
For the first time, their long-time sound engineer Maxime Kosinetz stepped in as producer. He travelled to Tamanrasset with Emile Papandreou (of the French duo UTO), a multi-instrumentalist who introduced electronic elements by sampling live instruments and reprocessing them in real time with a modular synthesizer — subtly reshaping the band's sonic identity.
The album was recorded mostly live, in one big room at Aboogi Studio — the band’s own rehearsal and recording space in Tamanrasset. The studio, a converted concert hall, has become a kind of cultural hub for the local youth. Friends dropped by during the sessions to contribute handclaps, vocals, and just be part of the energy. It’s a space where people gather, hang out, play dominoes, smoke chicha — a rare communal spot in a city that doesn’t offer many for young people, somewhat like a youth and community center.
This context — the creative shift, the live recording process, the atmosphere around Aboogi — might be interesting threads to explore in the conversation.

Everyone knows the story of American disco.
But few are aware that, between the late 1960s and the late 1980s, Italy wrote a parallel one — spontaneous, surprising, and incredibly creative.

It is a story that spans two distinct seasons: the Italian disco of the 1970s — melodic, handmade, sometimes naïve yet always original — and the emerging Italo Disco of the 1980s, electronic, futuristic, and lightheartedly projected toward the future.
Two different languages, yet both driven by the same desire for freedom and modernity. Discoteca Sound — Italian Discoteca Underground 1975–1986 brings together 18 rare tracks — including two previously unreleased — that tell this story of transition: from the orchestral and sentimental disco of Italian dance halls to the synthetic and visionary sound of the first drum machines.
A journey through private archives, local labels, regional studios, and forgotten voices — the sonic map of a country that has always danced, but to its own rhythm. From Mediterranean disco to the first Italo Disco, from the dim lights of provincial dance halls to the early home synthesizers, each track opens a window onto an Italy that dreamed of the dance floor as a universal language of connection during the brief season of revolutionary utopias.

This compilation celebrates ten years of work by Disco Segreta — a decade dedicated to the research, recovery, and appreciation of Italian disco and electronic culture. An act of justice owed to all those artists who had their moment yet were never remembered by history — bringing back to light an essential, still too little known part of our musical heritage.
Because dancing today remains, more than ever, a living act of memory.

Limited edition 2LP, features 2 previously unreleased tracks and a new 2025 version of Coscarella & Polimeno – Station to Station.






f Grazia Vitale – Poi (1975) Previously Unreleased










q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased






f Grazia Vitale – Poi (1975) Previously Unreleased










q Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) Previously Unreleased






f B2. Grazia Vitale – Poi (1975) Previously Unreleased










q D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]






[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]










[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]






[f] B2. Grazia Vitale – Poi (1975) [Previously Unreleased]










[q] D4. Daniel Sentacruz Ensemble – Vivo Solo Con Te (1982) [Previously Unreleased]

Seeking out the inspirational intersection between free improvisation, rave and ancient mysticism, Plants Heal deliver an album of kaleidoscopic, organic beatdowns to Quindi.
Plants Heal is a collaborative project between Dan Nicholls on synths, Dave De Rose on drums and Lou Zon (aka Louise Boer) on visuals. The roots of the project are entwined with Dan and Lou's London-based event Free Movements, which began in 2018 to explore how instrumental music could merge with live electronics and DJ sets. Dave and Dan found themselves playing together frequently at the event and as part of Dave's free improv project Agile Experiments, with their accomplished track records as multi-instrumentalists reaching across many layers of music culture. The particular synergy of their partnership taps into the subliminal, surreal and transcendental soundscapes, but they're reliably anchored by instinctive rhythms and driven by a natural flow-state.
From the tentative steps of their first collaborations, Dan and Dave coalesced Plants Heal as a more pronounced project with Lou's live visuals, culminating in a first self-released album in 2021 and since organically fed and watered through continued performances across adventurous festivals and intimate club spaces. Every incremental step along the path of the project yielded new surprises and the deepening sense of a unique, powerful energy. The trio opted to pour this energy into two days of studio sessions at Sonic Playground Studios in Athens, maintaining their unplanned approach and letting the music and visuals unfold in the moment. The end result is Forest Dwellers, a sincere document of truly free music that uses the rhythmic structure of dance and trance music as a springboard into heightened consciousness.
Throughout the album you can hear hints of the familiar - dub techno shimmers, trip hop boom-bap, kosmische momentum, snarling bass modulation, new age ambience and even the odd sizzle of disco. But none of these references are explicit, and they weave in and out of less placeable expressions deeply bedded into Dan and Dave's sonic practices. The end result is a swirling tapestry of unspooling groove, wide open and agile enough to shift gears mid-flow - just as comfortable letting the propulsion melt away as locking into a four-to-the-floor throwdown. From the slippery syncopation of 'Avena Moon' to the angular bait-and-switch of 'Alien Hardware', 'Yarrow's starry-eyed reverie and the rolling, warm-hearted funk of 'Space Ballad', the Plants Heal sound world is expansive and equally enthusiastic for immediate musical motifs as much as wild abstraction.
Lou's visual practice is an intrinsic part of the project. During performances she improvises with analogue footage from her library run through video mixers and synthesisers, focused on medicinal plants such as yarrow, hawthorn, nettle and thistle. All those plants feature in processed form on the cover of the record, which was designed in collaboration with Lou's brother Arthur Boer. Meanwhile, Lou recorded additional footage in Athens during the recording sessions to feed into the continued cycle of the project's live evolution.
Forest Dwellers' meaning honours this cycle and its reflection of the eternal undulations of the natural world. It's also a sincere tribute to the spiritual importance and radical potential of the dancefloor, drawn from the freedom taught by jazz and dedicated to reclaiming lost ideas about community, agency, bodies and the enduring allure of the unknown.

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

The Éthiopiques series returns! Essential archive recordings from an extremely fruitful period in Ethiopian music.

Before “Swinging Addis” took over the world, there was Moussié Nerses Nalbandian — the Armenian-born composer who shaped modern Ethiopian music. Mentor, arranger, and pioneer, he laid the foundations of Ethio-jazz.

This Éthiopiques volume revives his forgotten legacy, recorded live by Either/ Orchestra First issue ever with new exclusive photos and in depth liner 8-page insert.

“Ethiopian jazzmen are the best musicians that we have seen so far in Africa.
They really are promising handlers of jazz instruments.”

Wilbur De Paris
(1959, after a concert in Addis Ababa)

አዲስ፡ዘመን። *Addis zèmèn* **A new era.**
The time is the mid-1950s and early 1960s, just before "Swinging Addis" bloomed – or rather boomed – onto the scene. Brass instruments are still dominant, but the advent of the electric guitar, and the very first electronic organs, are just around the corner. Rock’n'Roll, R’n’B, Soul and the Twist have not yet barged their way in. Addis Ababa is steeped in the big band atmosphere of the post-war era, with Glenn Miller's *In the* *Mood* as its world-wide theme song, neck and neck with the Latin craze that was in vogue at the same period. Life has become enjoyable once again, with the return of peace after the terrible Italian Fascist invasion of Ethiopia (1935-1941). The redeployment of modern music is part and parcel of the postwar reconstruction. *Addis zèmèn* – a new era – is the watchword of the postwar period, just as it was all across war-torn Europe.
The generation who were the young parents of baby boomers** were the first to enjoy this musical renaissance, before the baby boomers themselves took over and forever super-charged the soundtrack of the final days of imperial reign. Music is Ethiopia's most popular art form, and very often serves as the best barometer for the upsurge of energy that is critical for reconstruction. Whether it be jazz in Saint-Germain-des-Prés or the *zazous* who revolutionised both jazz and French *chanson* after the *Libération*, be it Madrid's post-Franco Movida, or Dada, the Surrealists and *les années folles* that followed World War I, the periods just after mourning and hardship always give rise to brighter and more tuneful tomorrows. Addis Ababa, as the country's capital, and the epicentre of change, was no exception to this vital rule.

**Two generations of Nalbandian musicians**
Nersès Nalbandian belonged to a family of Armenian exiles, who had moved to Ethiopia in the mid-1920s. The uncle Kevork arrived along with the fabled "*Arba Lidjotch*", the** "*40 Kids*", young Armenian orphans and musicians that the Ras Tafari had recruited when he visited Jerusalem in 1924, intending to turn their brass band into the official imperial band. If Kevork Nalbandian was the one who first opened the way of modernism, pushing innovation so far as to invent musical theatre, it was his nephew Nersès who would go on to become, from the 1940s and until his death in 1977, a pivotal figure of modern Ethiopian music and of the heights it. Going all the way back to the 1950s. Nothing less. And it is Nersès who is largely to thank for the brassy colours that so greatly contributed to the international renown of Ethiopian groove. While the younger generations today venture timidly into the genealogy of their country's modern music, often losing their way amidst a distinctly xenophobic historiographical complacency, many survivors of the imperial period are still around to bear witness and pay tribute to the essential role that "Moussié Nersès" played in the rise of Abyssinia's musical modernity.
Given the year of his birth (15 March 1915), no one knows for sure if Nersès Nalbandian was born in Aintab, today Gaziantep (Turkiye/former Ottoman Empire) or on the other side of the border in Alep, Syria... What is certain is that his family, like the entire Armenian community, was amongst the victims of the genocide perpetrated by the Turks. Alep, the place of safety – today in ruins.
Before Nersès then, there was uncle Kevork (1887-1963). For a quarter of a century, he was a whirlwind of activity in music teaching and theatrical innovation. *Guèbrè Mariam le Gondaré* (የጎንደሬ ገብረ ማርያም አጥቶ ማግኘት, 1926 EC=1934) is his most famous creation. This play included "ten Ethiopian songs" — a totally innovative approach. According to his autobiographical notes, preserved by the Nalbandian family, Kevork indicates that he composed some 50 such pieces over the course of his career. This shows just how much he understood, very early on, the critical importance of song as Ethiopia's crowning artistic form. Indeed, for Ethiopian listeners, the most important thing is the lyrics, with all their multifarious mischief, far more than a strong melody, sophisticated arrangements or even an exceptional voice. (This is also why Ethiopians by and large, and beginning with the artists and producers themselves, believed for a long time — and wrongly — that their music could not possibly be exported, and could never win over audiences abroad, who did not speak the country's languages).

Last but not least, one of Kevork's major contributions remains composing Ethiopia's first national anthem – with lyrics by Yoftahé Negussié.
Nersès Nalbandian moved to Ethiopia at the end of the 1930s, at the behest of his ground-breaking uncle. Proficient in many instruments (pretty much everything but the drums), conductor, choir director, composer, arranger, adapter, creator, piano tuner, purveyor of rented pianos,... he was above all an energetic and influential teacher. From 1946 onwards, thanks to Kevork's connexion, Nersès was appointed musical director of the Addis Ababa Municipality Band. In just a few years, Nersès transformed it into the first truly modern ensemble, thanks to the quality of his teaching, his choice of repertoire, and the sophistication of his arrangements. It was this group that would go on to become the orchestra of the Haile Selassie Theatre shortly after its inauguration in 1955, which was a major celebration of the Emperor's jubilee, marking the 25th anniversary of his on-again-off-again reign.

At some point or other in his long career, Nersès Nalbandian had a hand in the creation of just about every institutional band (Municipality Band, Police Orchestra, Imperial Bodyguard Band, Army Band, Yared Music School…), but it was with the Haile Selassie Theatre – today the National Theatre – that his abilities were most on display, up until his death in 1977. To this must be added the development of choral singing in Ethiopia, hitherto unknown, and a sort of secret garden dedicated to the memory of Armenian sacred music, and brought together in two thick, unpublished volumes. Shortly before his death (November 13, 1977), he was appointed to lead the impressive Ethiopian delegation at Festac in Lagos, Nigeria (January-February 1977).

His status as a stateless foreigner regularly excluded him from the most senior positions, in spite of the respect he commanded (and commands to this day) from the musicians of his era. Naturally gifted and largely self-taught, Nerses was tirelessly curious about new musical developments, drawing inspiration from the very first imported records, and especially from listening intensely to the musical programmes broadcast over short-wave radio – BBC *First*. A prolific composer and arranger, he was constantly mindful of formalising and integrating Ethiopian parameters (specific “musical modes”, pentatonic scale, and the dominance of ternary rhythms) into his “modernisation” of the musical culture, rather than trying to over-westernise it. It even seems very probable that *Moussié* Nerses made a decisive contribution to the development of tighter music-teaching methods, in order to revitalise musical education during this period of prodigious cultural ferment. Flying in the face of all the historiographical and musicological evidence, it is taken as sacrosanct dogma that the four musical modes or chords officially recognised today, the *qǝñǝt* or *qiñit* (ቅኝት), are every bit as millennial as Ethiopia itself. It would appear however that some streamlining of these chords actually took place in around 1960. It was only from this time onward that music teaching was structured around these four fundamental musical modes and chords: *Ambassel*, *Bati*, *Tezeta* and *Antchi Hoyé*. A historical and musical “details” that is, apparently, difficult to swallow, especially if that should honour a *foreigner*. Modern Ethiopian music has Nersès to thank for many of its standards and, to this day, it is not unusual for the National Radio to broadcast thunderous oldies that bear unmistakable traces of his outrageously groovy touch.

Neroli reaches release number 50 during its 20th anniversary and celebrates with a special project, an album of songs by some of the label artists and friends. The title reference goes back to 20 years ago when label’s honcho Volcov decided to give the label the name of Brian Eno’s Neroli album, an hour long ambient opus inspired by the oil derived by the flowers of the Seville orange. So after 20 years and 50 releases the label goes full circle and offers an album of delicate and heartwarming melodies and atmospheric songs. The talent of original UK dons Kirk Degiorgio, Dego and Ian o’Brien is enrolled once again to guarantee sophistication and depth. Patrice Scott and Fred P, who had recently released eps on Neroli, are joined here by fellow spacecadet Aybee…all delivering warm futuristic pieces! K15 and Linkwood debut on the label, opening and closing the album with class. And there is even a lost composition by Volcov himself with Detroit’s Gerald Mitchell and Pirahnahead as part of some 2010 sessions that might resurface soon…THE FIRST CIRCLE is complete!

Design by Al White. Manufactured and Distributed by Mother Tongue, Verona.

Repress due to the high demand! Unbelievable deep and driving techno sound of the first hour. this 4 tracker from R.M.K. shows where techno should be. in the here and now, without exaggeration, without bling bling and without polarization. R.M.K. utilises his knowledge and past experiences, which include regularly playing at Berghain and Tresor in Berlin, as well as fabric in London, to develop his individual sound. During his more than 20 year career in music, he has formed friendships and worked in partnership with other respected artists such as Trevino (Marcus Intalex), Jamie Anderson, Robert Owens, Goldie and Nastia. Although the focus is always on the very heart of the most raucous of raves, R.M.K never shies away from groove and funk. This is conveyed in a Live Show that utilises classic hardware from the golden age of UK Rave.

Opeth wurde von den Kritikern für ihre Kombination aus progressiven Einflüssen und vernichtendem schwedischem Death Metal gelobt. Diese farbigen 140g Re-Issues sind ein Muss für Fans und Sammler, denn sie wurden von keinem Geringeren als Jens Bogren (Opeth, Katatonia, Amorphis, Sepultura) mit Unterstützung von Mikael Åkerfeldt ein liebevoll remastert. Die Aufnahmen wurden mit halber Geschwindigkeit in den berüchtigten Abbey Rd von Miles Showell (ABBA, Beatles) geschnitten, und das gesamte Artwork wurde von Dan Capp sorgfältig restauriert und so gestaltet, wie es die Band ursprünglich beabsichtigt hatte.

Es gibt nur wenige Bands, die es mit den Schweden von Opeth aufnehmen können oder wollen. Seit ihrer Gründung 1990 in dem kleinen Stockholmer Vorort Bandhagen haben die Schweden alle Konventionen über den Haufen geworfen, sich trotzig gegen alle Widrigkeiten durchgesetzt und - was am wichtigsten ist -12 atemberaubend schöne und intensive Alben geschaffen und sich damit zu einer der besten Bands der Welt entwickelt.

Streng limitierte Stückzahlen!

Groovin Recordings proudly announce the forthcoming release of "Back From Paradise", a track co-produced by the legendary Italian DJ Costantino “MixMaster” Padovano and renowned South Italian producer Antony Reale.
This record is a dedication to the enduring legacy of Costantino MixMaster Padovano. Originally produced in the late 90's but never officially released, this collaborative piece is finally seeing the light of day as a powerful celebration and tribute.
Costantino MixMaster Padovano needs no introduction to house music aficionados. He was one of the first Italian DJs to achieve deep respect in the 90s US house scene, regularly sharing the decks with titans like Frankie Knuckles, Kenny Dope Gonzalez, Louie Vega, and Todd Terry. His studio influence was massive, including official remixes for legends such as Marvin Gaye, Diana Ross, Gloria Gaynor, Chaka Khan, Mary J. Blige and many more.
Antony Reale is an established Italian DJ and producer with a large discography spanning the last two decades. He has produced and remixed a roster of top artists, including Chaka Khan, Mary J. Blige, Ultra Naté, and RuPaul.
"Back From Paradise": Originally created by Antony and Costantino during their creative prime in the late 90's, Antony has now decided to finally release the track. It serves as a beautiful and fitting monument to the memory and fantastic career of this iconic Italian DJ and producer who helped define the 90's house scene.

»Memento Mori: Mexico City« ist eine über zweistündige Liveaufnahme von Depeche Modes drei ausverkauften Konzerten im legendären Foro Sol Stadion in Mexiko-Stadt aus dem September 2023 und wird durch vier bisher unveröffentlichte Studioaufnahmen von den »Memento Mori«-Sessions ergänzt.

Die CD-Konfiguration enthält das Livealbum und Bonustracks auf zwei CDs sowie ein 16-seitiges Booklet mit Livefotos von den Shows.

Dieses Livealbum erscheint parallel zu Depeche Modes neuem Film »Depeche Mode: M«, der während der Shows in Mexiko-Stadt aufgenommen wurde. Der Film wurde konzipiert und umgesetzt vom vielfach ausgezeichneten mexikanischen Filmemacher und Regisseur Fernando Frías. Während »Depeche Mode: M« packende Konzertmitschnitte mit stimmungsvollen Nebeneindrücken und ausgesuchtem Archivmaterial vereint, wird gleichzeitig die tiefgreifende Verbindung zwischen Musik und Vergänglichkeit innerhalb der mexikanischen Tradition veranschaulicht. Die Blu-ray- und DVD-Konfiguration von »Depeche Mode: M« enthält zusätzlich das schon erwähnte Livealbum »Memento Mori: Mexico City« sowie einen abendfüllenden Konzertfilm.

Der britische Produzent und Elektronikkünstler Joe Thornalley, bekannt als Vegyn, interpretiert das kultige Debütalbum „Moon Safari“ von Air aus dem Jahr 1998 in einem gewagten Crossover der Genres und Epochen neu. Vegyn wurde durch seine Arbeit mit Künstlern wie Frank Ocean und Travis Scott bekannt und hat sich einen Namen als zukunftsorientierter Produzent gemacht, der üppige, atmosphärische Klanglandschaften mit experimentellen Beats und einem Sinn für Unvorhersehbarkeit verbindet. Mit seinem Remix von Moon Safari“ bringt Vegyn seine einzigartige Vision in das beliebte Ambient-Pop-Meisterwerk des französischen Duos ein und verleiht ihm eine frische, moderne Energie.


Vegyns „Moon Safari“-Überarbeitung wird in einer neuen Tracklist enthüllt und erscheint auf schwarzem Vinyl und einem CD-Digisleeve, beide in einer schönen, transparenten blauen Hülle verpackt.

Sylvan Esso ist eine Band aus Durham, North Carolina. Im Laufe ihrer Karriere haben Amelia Meath und Nick Sanborn vier hochgelobte Alben veröffentlicht, wurden für zwei GRAMMYs nominiert und haben mit einer breiten, vielseitigen Gemeinschaft von Künstlern zusammengearbeitet, darunter Arooj Aftab, Maggie Rogers, Tyler Childers, Reyna Tropical, Califone und viele weitere. ,WDID" ist die erste neue Musik der Band seit 2022. Der Track sowie seine hypnotische, wellenförmige B-Seite ,KEEP ON" entstanden beide aus einer intensiven Phase des Schaffens und Experimentierens der Band. Meath und Sanborn haben das letzte Jahr damit verbracht, mit einer Reihe neuer Mitwirkender an neuem Material zu arbeiten und ohne Zeitdruck in den üppigen Wäldern von Chapel Hill, North Carolina, aufzunehmen. Der Song ist auch der erste, den Sylvan Esso über ihr eigenes Plattenlabel Psychic Hotline veröffentlichen. ,WDID" ist ein komplexer, eindringlicher Track; ein manisches Summen, das sich irgendwo zwischen einem Doom-Scroll um 3 Uhr morgens und der Tanzfläche abspielt. Er sprudelt vor Angst, einer alles verschlingenden, endlosen Kaskade von Krisen. Der ausgefallene, elektrisierende Pop der Band hat sich schon immer aus einem zentralen Spannungsfeld entwickelt - Meath und Sanborn scherzen schon lange, dass das Songwriting von Sylvan Esso aus einem Streit entsteht, einem Hin und Her der Möglichkeiten. Das Songwriting hier - und in der neuen Musik im Allgemeinen - ist locker und verletzlich, eine disparate Collage, die mit Klebeband zusammengehalten wird und etwas hervorbringt, das letztlich sowohl magisch als auch seltsam ist, ein dyspnoischer, schattenhafter Sound, der die Menschen an der Spitze von Sylvan Esso mit einer neuen Unmittelbarkeit zeigt. ,WDID" wurde in Betty's, dem Studio von Sylvan Esso in Chapel Hill, North Carolina, aufgenommen und wurde zusätzlich von Jake Luppen (Hippo Campus, Samia) produziert. ,KEEP ON" entstand aus einer Woche Improvisation mit dem Bassisten Daniel Aged (Frank Ocean, Dijon) und dem Schlagzeuger TJ Maiani (Weyes Blood, Neneh Cherry). Diese limitierte 12"-Single verfügt über eine speziell angefertigte, ausgestanzte Hülle, die als Malvorlage verwendet werden kann.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

2026 Repress

The tenth edition of the Early Morning label stands as both a milestone and a statement of intent. In just a single year, its founder has reshaped theunderground dance music landscape with a catalog that redefined thepossibilities of the genre. This latest release features two new pieces thattogether form a tightly woven conceptual work spanning nearly seventeenminutes.



Guy Jhas built his reputation on reinvention. Each release feels less like acontinuation of his past and more like a step into uncharted terrain. On theopening track, Worlds Apart, he fuses an emotive core with intricate sounddesign and spatial experimentation, leading listeners into liminal states whereconsciousness and subconsciousness blur. Despite its cerebral qualities, thepiece never loses its pulse, the steady momentum thatkeeps it firmly anchoredto the dancefloor.



True tothe label's name, this is music designed for dawn, for moments of release aftera long night, for embraces on crowded floors, for the intangible bonds thatform through shared experience. The second track, Surreal, pushes further intoabstraction. While echoes of early trance, a genre that shaped Guy J during hisformative years, are evident, the piece reframes those influences through aprogressive, hypnotic, and technologically refined lens. It is this ability toblend memory with innovation that distinguishes Guy J from his peers, offeringlisteners not just music but a reimagined space in which sound itself becomesan act of discovery.


Tracklist

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 10

A1) GusGus - Crossfade (Maceo Plex Remix) (Original Release 2014)

Released in 2014 on the German label KOMPAKT, this remix by Maceo Plex features Ten Walls-like horns, vocals, and pumping drums, making it a true Ibiza floorkiller. The vocals are by Konstantin Sibold. This remix was only released as a white label (Kompakt Exclusive) and has yet to have an official vinyl release. Despite this, it remains a favorite among DJs and clubbers worldwide, regularly played at festivals and clubs.

A2) Plaything - Into Space (Original Release 2001)

This groovy track, released in 2001, contains a sample from Sheila & B. Devotion's Spacer, with Nile Rodgers as one of the producers. The original trackSpacer is an iconic disco hit from the 1970s, and Plaything put a contemporary spin on this classic. The track was a hit in Belgian clubs in the early 2000s, often played by prominent DJs. It has since been released on various labels and remains a timeless favorite in the electronic music scene.

B1) Ion - W.B. (Original Release 2002)

This trance classic by DJ Ion was first released in 2002 on the Belgian label B². The track quickly became a beloved classic within the trance community. Danny Casseau, the producer behind this track, is also known for other legendary works, including the trance classic Ion 98 - Tructure, which had a significant impact on the trance scene. W.B. is a pure, old-school trance track, crafted in the way only tracks from that era were!

This vinyl is extremely rare and hard to find, making it a sought-after item for collectors and trance lovers. It is still played in the sets of DJs who cherish the older trance sound, and it fits perfectly in contemporary sets as well!

B2) Subaltern - Forever (Ledge Forever Remix) (Original Release 2007)

This club banger was released in 2007 on the French label Voices Records and was a popular track in well-known Belgian clubs like Illusion and La Rocca. The Ledge Remix added an energetic, infectious vibe that made it a true hit on the dancefloor. It received an official vinyl release in 2007, but it is now difficult to obtain. Subaltern's Forever remains an unforgettable club classic still appreciated by electronic music lovers.

C1) Lykke Li - No Rest For The Wicked (Joris Voorn Remix) (Original Release 2014)

Swedish singer-songwriter Lykke Li scored a worldwide hit with I Follow Rivers, but also had great success with the powerful track No Rest For The Wicked. The Dutch producer Joris Voorn gave his own tech-house spin to the track in his known style!

Voorn's remix keeps the atmospheric mood of the original but adds a new, dancefloor-friendly dynamic that makes it suitable for the electronic music world.

This is the first time this remix is being released on vinyl since the original release in 2014, making it a rare and desirable item for both collectors and DJs. Thanks to the powerful mix of melody and rhythm, this remix of No Rest For The Wicked remains a timeless favorite that has found its place both in clubs and in vinyl collections of music enthusiasts and DJs.

C2) The Roc Project feat. Tina Arena - Never (Filterheadz Luv Tina Remix) (Original Release 2002)

This Spanish dance track hit Europe in 2003, thanks in part to the legendary remix by the Belgian techno duo Filterheadz. Brothers Bert and Maarten Wilmaers, known for their distinctive techno sound, gave the track their own twist with strong beats and an uplifting bassline, creating a timeless club hit that was heard everywhere in the early 2000s.

The vocals by Tina Arena add an emotional layer, while the Filterheadz Luv Tina Remix has stood the test of time and still gets everyone moving. At 12 Inch Lovers parties, this track never goes unnoticed and often brings the night to a high point. This track is a must-have for both collectors and DJs who love a mix of emotion, energy, and a solid techno sound.

D1) Soul Syndicate - Inside Of Me (Steel Union Remix) (Original Release 1995)

Speaking of a trance classic, this one is a true gem! Inside Of Me was released in 1995 during the golden years of Belgian trance music on the legendary Belgian label Aquatic Records. The Steel Union Remix by Zzino is an absolute favorite among trance lovers.

With its iconic sound and unmatched energy, this track is a true ode to the Belgian trance scene. It remains an unadulterated classic that still makes an irresistible impact, not only at retro trance events but also in the sets of contemporary DJs. Since its release, this remix has been hard to find, making it an even rarer piece of trance history. A track that has stood the test of time and is a must-have for collectors and fans of old-school trance.

D2) Ken Laszlo vs. Disco Dice - Hey Hey Guy (House Dub) (Original Release 2003)

Ken Laszlo, the Italian singer who became globally famous in the 1980s with the iconic Italo-disco hit Hey Hey Guy, received a re-release in 2003 on the house label Dubmental. This version was reimagined by Disco Dice, who gave the track a fresh house vibe with a more modern sound. Belgian DJ Jean, known for his influence on the Belgian nightlife scene, introduced this track into the clubs and transformed it into a club classic.

This release, although released in 2003, is now very rare and hard to find on vinyl. It's a hidden gem that continues to withstand the test of time, making it a valuable collector's item for lovers of both Italo-disco and house.

D3) Icehouse - Hey Little Girl (Infusion Remix) (Original Release 2002)

The Australian band Icehouse released the iconic track Hey Little Girl in 1982 on the British label Chrysalis. This synth-pop track was a big hit and still remains one of the classics from the 1980s. The original track was later included in the remix album Meltdown in 2003, where the Australian duo Infusion created a contemporary electronic remix that gave the track a new dimension.

The Infusion Remix adds a modern, danceable twist to the original synth-pop sound. This version surprised both fans of the original hit and lovers of electronic music, remaining a sought-after track in DJ sets.

This track has been unavailable on vinyl since its original release in 2003, making it a rare collector's item.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Emerging from the University of the West Indies (UWI) in Jamaica during the late 1970s, Main Attraction was a group of talented singers whose music captured the social and political energy of their time. With a sound that blended reggae and soulful ballads, their songs were both a reflection and a response to the challenges of the era.

The group originally featured Sonia Copeland, a gifted writer, arranger, and back-up singer, alongside Sharon Jones, whose velvet voice led many of their reggae tracks. They were joined by Allison Smith, Marjorie Smith, and Shahiba Ali, forming the group’s first lineup. As time passed, Michelle Thompson and Lileth O’Connor joined, further enriching the group’s dynamic harmony.

Main Attraction’s musical journey began with their debut recording, a cover of Once Upon a Time, produced by David Haughton under the management of Clayton Downie. Later, with Owen Palmer as their manager and producer, the group expanded their horizons, performing in cabaret gigs with the band Mind Benders and embarking on an overseas tour that showcased their talent in New York City. While Sharon Jones led reggae tracks like Jam Up, Allison Peart and Shahiba Ali brought their soulful touch to R&B songs, creating a rich, versatile repertoire that captivated audiences.

Jam Up was the group’s first original recording, composed and arranged by Sonia Copeland. Performed as part of the Reggae Song Competition during Carnival in 1978, the song is a rallying cry for unity and progress. With powerful lyrics and a Shaka rhythm, Jam Up calls on Jamaicans to come together, strive for economic growth, and uplift the nation collectively.

Sonia’s vision was clear: that Jamaicans from all walks of life would find inspiration in the song’s message, motivating them to improve their standard of living and contribute to the country’s growth and prosperity. Decades later, the lyrics remain just as relevant — a timeless call to action for social and economic strength.

Hold this record in your hands, let the music play, and feel the enduring power of reggae music to transform, uplift, and connect.

Repress!

Belgian tastemaker Charlotte de Witte returns to her own KNTXT to serve up the well regarded label's seventh EP. Rave On Time is about reminding us of the joys of being lost on the dance floor and is another hard hitting EP filled with her distinctive techno energy.

Charlotte is at the centre of her own musical movement, with a hard hitting, no frills style. Her powerful grooves, whether solo or in collaboration with the likes of Chris Liebing, come laced with ambient and synth beauty. She has mesmerised crowds all over the world as well as at her own special KNTXT events, and has been as creative as ever during lockdown, as this new EP shows.

Says the artist herself of this latest offering, "Rave On Time. Three words that probably have never been more relevant. In a time where raving feels like a distant memory, it seems increasingly important to bring music back in our lives, in reverse. Let's not forget where we came from and let's not lose hope. We'll be together again soon. Rave On Time."

Opener Rave On Time is built on hammering, distorted kicks that bend you to their whim. Freaky vocals and monstrous hits add extra pressure and ensure you stay locked before shooting laser synths and retro hoover sounds bring the rave. There's No One Left To Trust keeps up the energy with scintillating synths rattling over rock solid drum programming that never lets up. The World Inside is brain frying material, with serrated synths firing out and growing ever more acid as the groove pounds on. Common Era is brilliant hands in the air acid-trance-techno that froths with energy and flashing strobes. Finally, vinyl only track 'Wahr Ist Sie Dann’ is a distorted, brain melting techno workout with brutalist kicks and vast walls of synths that are hugely powerful.

As ever from de Witte, this is pure, unadulterated club music that makes a gargantuan impact.

The collective mind of SIKU conjures its seventh creation. Limited copies.

South London producer Nima announces his debut album. A project five years in the making that pays homage to the formative dance floors of UK bass music. Drawing from the spirit of nights like FWD>> and DMZ in London, and many from Bristol, the record sits at the crossroads of hip hop, dubstep, grime and cinematic sound design.

Of Iranian heritage, Nima grew up on a steady diet of 90s Hip Hop and Grime before discovering 140 culture through pioneers like Skream and Benga. His sound developed further in Bristol during one of the city’s most vital periods for bass music, later refined at London’s Roundhouse studios. His productions blend filmic atmosphere with the physicality of sound system music, heavy hip-hop drum structures, rolling 140 basslines, and emotive grime-inspired melodies.

Across the album’s tracks, Nima explores the evolution of UK sound system culture through his own lens. From the weightless grime-inspired “Imperial Dreams” and cinematic, jungle-inflected “Big Up”, to the stripped-back melodic grime of “Ruff Sqwad” and the deep, meditative bass of “One People.”

Referencing everything from Plastician’s Beg to Differ to Mala’s Boiler Room set, Fugees skits, and samples from films like Imperial Dreams and Belly, the record is a reflection of the cultural layers that have shaped Nima’s musical identity.

Nima’s debut is a personal statement to the foundations of UK bass music. Cinematic, weighty, and built for the dance floor.

Sechs Tracks. Zwei Seiten. Ein Gefühl

Manche sagen, diese EP sei wie eine Reise durch das Universum.
Andere sagen, sie ist einfach nur geil produziert.
Und dann gibt’s noch uns, REEEF, und wir sagen: Warum nicht beides?

Die „Universe EP“ ist der Beweis, dass Melodic Techno nicht nur tief und emotional sein kann, sondern auch richtig gut sitzt – wie dein Lieblings-Hoodie nach drei Tagen Festival.



Wir haben alles reingepackt:

Universe: Der Titeltrack. Ein epischer Opener, der mehr Stimmung macht als dein Barista mit Burnout.

Humanity: Technofrontalangriff mit Betonwänden – für alle, die es ernst meinen mit dem Raven.

Never Say Never: Melancholie auf House-Basis. Für den Moment, in dem du denkst: „Vielleicht bleib ich doch noch bis Montag.“

Daydreams: Der Track für 6:42 Uhr, wenn draußen der Nebel aufzieht und du kurz überlegst, ob das Leben nicht doch ein Musikvideo ist.

Bumblebee: Direkt im Ohr, klebt wie Honig im Hirn – nur eben clubtauglich.

Kryptonite: Der große Absch(l)uss. Melodic House mit Pop-Einschlag – emotional, energetisch, kein guilty pleasure, sondern einfach pleasure.



Für DJs. Für Hörer. Für Menschen mit Geschmack und funktionierendem Basssystem.

Auf 12” Vinyl gepresst, liebevoll angeordnet, Spielzeit optimiert – so wie Oma früher die Tupperdosen im Schrank. Nur mit mehr Kickdrum.



Fazit: Diese EP braucht keine Hype-Formulierungen. Die Tracks sprechen für sich. Und wenn nicht, übernehmen wir das Mikrofon – laut, tanzbar und mit einem leichten Hang zur Selbstüberschätzung.



REEEF – Universe EP! Jetzt überall, wo es gute Musik gibt. Und bald auch bei dir im Plattenkoffer.

On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.

Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.

Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.

“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.

Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.

The 12-track record is the first album on SHDW's influential label and explores the past, present, and future of techno.

Planet X label head and 20-year scene veteran Exos, hailing from Iceland, draws on his native country's influences in his work, which explores the interplay between light and dark, warmth and cold. His high-octane sounds over the last 20 years have appeared on vital imprints like Tresor, X/OZ, and, of course, Mutual Rytm, with his releases for
the label having been extremely well received, garnering support from the scene's key DJs. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s style. This new album follows Exos's inaugural X-Release, the Infrared 10", the Icebreaker 12" from last year, and his track on the latest Federation of Rytm IV compilation. It's a real journey through all facets of his sound, including a trip back to his dub techno roots, ambient
explorations, and emotional vocal pieces with lifelong memories fused into sounds that reflect the artist's decades spent in Iceland.

'Sweet Dreams' opens with an atmospheric intro in the form of a 28-year-old collaboration with his father. This full-bodied analogue ambient piece is rich with the mysterious tones of the Nord Modular and was recorded during their shared studio days at D17 in Reykjavik. The title track is a hypnotic, linear groove with icy synth modulations and glistening melodies. 'Hinn Vioforli' then brings dub warmth while 'State of Mind' recalls the spirit of the legendary Reykjavik club 'Thomsen', a cornerstone of Iceland's late 90s underground scene. 'Glaour Og Reifur' and
'Fogur Er Hlioin'pay homage to the echoes of ancient Viking heritage, 'North of January' conveys the cold of Exos's homeland, and 'Hvarvetna' brings textured percussion and darker undertones before '101 After Dark' slows to a bass-heavy broken beat exploration of texture and post-dubstep pressure.

After the heady and atmospheric sound of 'The Dolphin Oracle', another key collaboration comes with 'Freefall', an emotional breakbeat piece featuring vocalist Amelia Rodriguez,' who also lends her voice to 'Shock', a magnificent track that channels Exos's modern techno energy. The album closes with a haunting paradox, 'Paradise Lost,' questioning whether our sweet dreams are truly moments of bliss or simply reflections of what we've already left behind. The three bonus digital cuts offer sleek minimalism, punchy deep techno, and suspenseful ambient.

Limited Algae Sea Vinyl. CocoRosie is Bianca and Sierra Casady. Sierra sings and plays guitar and flute. Bianca sings and does percussion (rattles things, makes things squeak, shakes a gold chain belt). They write all the music together. La Maison de Mon Réve was written and recorded in a tiny apartment in the 18th district of Paris during the spring of 2003. La Maison de Mon Réve was released by Touch and Go Records in March 2004. La Maison de Mon Réve is deceptively innocent; enchanting and sweet yet eerie and twisted. An acoustic guitar paints melody through a haze of cryptic sounds and perversely angelic voices. A broken radio transmits a music box orchestra. Tiny field mice sing opera. This 20th anniversary edition of CocoRosie's debut album La Maison de Mon Réve is pressed on transparent algae sea vinyl and limited to 1500 copies worldwide. Packaged in a gatefold jacket with neverbefore-seen photos, the vinyl includes the full album along with a previously unreleased bonus track, "Hairnet Paradise."

Support from: Cream, Lady Duracell, Makossa, Robert Harding, Paul Thomas, Kiberu, Ede, Yves Eaux, Yas Cepeda, Francesco Chiocci, Lonya, PAAX, Yet More, Themba, Noel Sanger, Alex Neri, Gavin Hardkiss, Nicolas Masseyeff, Luke Garcia, Nhar / Bernhard Siefert, Underspreche,

Now, pushing the envelope with a fresh, contemporary flavor, Kwanzaa Posse offers African Kolors,
a gorgeous, warm Afro-inspired gem that exudes good vibes, while the alternative mixes take us deeper and
more underground. The vinyl includes two exclusive versions by Fulvio Perniola (FATHERS OF SOUND).

Written, Composed and Produced b: Kwanzaa Posse & Piero De Asmundis
at Kwanzaa Posse Studio, Pozzuoli, Naples (Italy) for Undiscovered Recordings Ltd.

Ambroos De Schepper and Pepijn Gyssels became roommates when PiP moved to Brussels in 2021. Both paid close attention to each other’s musical approach and interests. One year later, Ambroos moved out. When he swung by to pick up some boxes, they decided to record something for the fun of it. Between May '23 and November '24 they continued experimenting with textures and improvisations. This collaboration has become the deepening of a friendship and a way to maintain it at the same time.

PiP: “We would have coffee or the occasional beer and everything we recorded came very organically. Ambroos would just bring his saxophone, a clarinet, some FX pedals or a weird flute. Whatever he felt like on that particular day. A few hours later he would usually be on his way again, leaving me with the recordings. I could treat them as I pleased.”

Ambroos: “I liked the idea of working with someone focussing on the physical side of music. Not so much on chords and tonality, but on texture and atmosphere. This gave me a framework with less concrete references, using words like “dark” or “busy”. I could improvise freely and we would try and catch a particular moment."

“l’Esprit de l’Escalier” is meant to be a musical meditation, opening up a continuous and detailed sound palette, aimed for the right mental state to listen with. Ambroos came up with the melody in COVID times and later in PiP’s studio, they recorded it on clarinet.
“Sans Loup” is the first jam the duo did together, after Ambroos and Lou moved out of the apartment they shared. Lou Wéry eventually found her way back to the album, as she can be heard playing the wing piano in this track.

PiP: “We recorded in the apartment we used to rent together. Since the title track and the entire album are named after Lou being absent in this dynamic, it seemed only natural to invite her in a later stage.”

“Spring Whistle” was an attempt to embed Ambroos’ musicality in dreamy textures and “Bring Back Bones” was built around an endlessly evolving krakeb recording that PiP took home from on a trip to Morocco. Both tracks are not aimed to end or evolve drastically, they just make the clock tick slower.

To conclude this release, “Velours de Tendre” is built out of a deconstructed groove and a field recording of the “Ronde van Vlaanderen”, a small reference to the countryside where PiP grew up. The reverberating chords you hear are the echoes Tijn Driessen squeezed out of an old harmonium, in a staircase of De Grote Post in Ostend.

PiP: “During a residency in De Grote Post we recorded in a staircase with a spaced pair of omni microphones. And you can take ‘spaced’ quite serious; one was positioned 5 stories higher and the other 3 stories lower.”

Sans Loup is the first vinyl to release on PiP’s label. They look alike, but none will be identical. The cover is screen printed in various combinations + a risograph insert. A highly personalized object.


credits

Released on Zitstill Records
Recorded in Brussels, Horebeke, Morocco and elsewhere, between September 2021 - November 2024

Music, mixing and production by Pepijn Gyssels
Saxophone, flute and clarinet by Ambroos De Schepper
Grand piano on “Sans Loup” by Lou Wéry
Harmonium on “Velours de Tendre” by Tijn Driessen
Mastering and lacquer cut by Anne Taegert at Dubplates & Mastering
Pressing by Objects Manufacturing
Layout and graphic design by Liselotte Van Daele & Otis Verhoeve
Photography by Willem Mevis

Special thanks to: Stijn Cools, Victor De Greef, De Grote Post

Opsin- the new collaborative alias of longtime friends and producers Keydell and Kincaid - announce their debut LP on wax, Through The Wall, from London-based record label Hypnic Jerks.

Artist Info:

Opsin is the debut project between artists Keydell (Liam Keydell Myers-Cook) and Kincaid (Joe Arthur). The Pair have previously released on the following labels: Well Street Records, Banoffee Pies, Redstone Press & Bliss Print.

Both have extensive work in sound design and collaborated on the soundtrack for Mithridate at London Fashion Week 2024. Kincaid also produced the soundtrack for Alexander Whitley's Anti-Body Ballet.

Release Info:

The album is named after the birthplace of its creation. Sharing files between bedroom walls during COVID-19. Keydell's meticulous Ableton-based resampling of found audio and modular synth racks, and Kincaid's Reaktor-driven synthesis in Logic.

Draws on a wide spectrum of electronic influences the album infuses elements of rave, techno, industrial and ambient sounds, whilst never quite landing in any specific genre.

Second release from London label Hypnic Jerks on 4 sides of 180 gram vinyl, in a gatefold sleeve designed by Jacob Wise and mastered by Rashad Becker.

A followup from their first release - Toumba's debut physical release 'Rosefinch', which saw later releases from Hessle Audio and Nervous Horizon.

Warsaw 480km ist das Debütalbum des irisch/portugiesischen Quintetts pôt-pot, das die treibenden Grooves des Krautrock mit einer phosphoreszierenden Psych-Rock-Ausstrahlung verbindet, unterstrichen von Harmonium-Drones, hypnotischen männlich-weiblichen Gesangsharmonien und tiefen Schichten rauer Texturen. Das Album entstand in erster Linie aus Demos des Multiinstrumentalisten und Leadsängers Mark Waldron-Hyden während einer Zeit der Trauer und des persönlichen Umbruchs und wurde durch eine Reihe von Live-Studio-Sessions in voller Besetzung zum Leben erweckt, die ein außergewöhnliches Spektrum an Talenten dokumentieren, die sich in einer Umarmung der rohen Katharsis mit einer süßlich düsteren Kante vereinen. Ein entscheidendes Element von Warsaw 480km ist die beeindruckende Bandbreite an Einflüssen und atmosphärischen Landschaften. Waldron-Hyden beschreibt: ,Ich habe die ersten Songs geschrieben, als ich noch nicht wirklich an einem Ort lebte, daher denke ich, dass sie sich irgendwie vergänglich anfühlen - sie mit der Band zu entwickeln half mir, eine Zeit zu verarbeiten, in der ich emotional frei war, daher erinnern sie mich gleichermaßen an die schönen Erfahrungen, die wir als kreative Einheit teilten, und an die schwierigen Zeiten, die sie inspirierten." Die Leadsingle ,WRSW" ist ein Beispiel für diese Komplexität, denn ihr robustes rhythmisches Rückgrat trägt Tremolo-Gitarren, ein wummerndes Harmonium und eine halb gesprochene, an Lou Reed erinnernde Gesangslinie, in der Strophe und Refrain wunderbar miteinander verschmelzen. Vor allem ist Warsaw 480km ein Album, das seinen Reichtum und seine Aura durch bewusste Sparsamkeit erreicht, wie Waldron-Hyden erklärt: "Ollie Oliver Smith und Sara Sara Leslie sind Experten darin, das Beste aus einem Pedal, einem beschissenen Verstärker und einer geliehenen Gitarre herauszuholen, ein Ergebnis von angeborenem Talent und jahrelanger Erfahrung; sie verwenden einige Modulationen für dröhnende Passagen, aber es sind ihre Spielstile und ihr Verständnis für ,den Vibe`, die die geheimen Zutaten sind." Diese Art von intuitiver Verbindung und Zusammenarbeit ist unglaublich selten, und mit diesen zehn Stücken vollbringen pôt-pot etwas wahrhaft Entrücktes, indem sie tiefen Schmerz in eine leuchtende Träumerei alchemisieren. Für Fans von Lewsberg, Spacemen 3, Spiritualized, Brian Jonestown Massacre, Velvet Underground, The Oh Sees, Ty Segall, Uranium Club, Night Beats, Goat, Black Lips.

Lantern in the Woods is the new album from musician and multi-instrumentalist Misha Sultan – a project that marks an important milestone for the artist. It is his first work conceived and realized as a coherent, unified statement, from the earliest ideas and sounds to the final mastering.

The story of the album began back in 2021 in Saint Petersburg, during studio jam sessions with Anton (Mårble), Vova Luchanskiy, and Nikita (Minereed). These live
improvisations eventually led to the formation of the collective Sri Primat and left a significant imprint on Misha Sultan’s solo sound. Some of the instrumental parts on the album were recorded during this period, preserving the spirit of spontaneity and open dialogue between the musicians.

Later, after moving to Thailand, Misha recorded the second half of the material. These tracks absorbed the atmosphere of southern nights, tranquility, and comfort – bringing a distinct “bedroom jazzy vibe”, a touch of sentimentality and gentle melancholy into the music.

The album offers a beautiful blend of jazz and various other influences. At its heart, it’s a search for balance between memories and the present moment, between nature and the city, between the light of the lantern and the darkness of the woods.

“It was especially important to me that my friends and close people were involved in this album. Their presence gave the music that warmth and personal feeling I value so much. My brother Zhenya (Dyad), Anton (Mårble), Vova Luchanskiy — they all contributed a part of themselves to these tracks, as did Nina Livanova, who recorded vocal parts for several songs,” says Misha.

Lantern in the Woods is a soft and sincere work, where all things intertwine naturally.

Die renommierte Klassikreihe "The Masterpieces of..." widmet sich in dieser Ausgabe dem französischen Komponisten Georges Bizet - einem Meister der Melodie und Dramatik. Diese sorgfältig kuratierte Zusammenstellung vereint ikonische Werke aus Bizets Opern- und Orchesterrepertoire, interpretiert von zwei der größten Dirigenten des 20. Jahrhunderts: Sir Thomas Beecham und Herbert von Karajan. Im Mittelpunkt stehen unvergessliche Auszüge aus der Oper Carmen, darunter die berühmte Habanera "L"Amour est un oiseau rebelle", das temperamentvolle Toréador-Lied "Votre toast, je peux vous le rendre" sowie das dramatische Finale. Ergänzt wird das Programm durch die farbenreichen Suiten Nr. I & II aus L"Arlésienne, die Bizets Gespür für Atmosphäre und französischen Esprit eindrucksvoll unter Beweis stellen. "The Masterpieces of Georges Bizet" ist Teil einer 13-teiligen Sammlung, die die größten Namen der klassischen Musik vereint - von Bach bis Brahms, von Chopin bis Debussy. Ideal für Klassikliebhaber, Sammler und alle, die in die Welt der großen Meister eintauchen möchten.

The productions of producer Bunny'Striker'Lee were so extensive in the early to mid 1970's that labels were created just to handle his ever expanding output...
Three labels that came about during this time when Dub was King,were Jackpot,Justice and Attack.
Here we look at the Jackpot label and have compiled a collection of some of its finest dub cuts..
Jackpot records was formed in the early 70's as a subsidiary of Trojan Records to handle the Hitmaker from Jamaica Bunny'Striker'Lee
We have gathered here what we think are some of the best dubcuts from this label and era..
Hope you enjoy the set......

WOODKID komponiert die Musik zum heiß erwarteten PlayStation-Spiel "Death Stranding 2: On The Beach". Mit seinem neuen Album "WOODKID FOR DEATH STRANDING 2: ON THE BEACH" zum sehnlichst erwarteten Spiel von Hideo Kojima hebt WOODKID die Idee von Game-Musik auf ein neues Level. Die Songs sind inspiriert von Kojimas Erzählkunst, seinen Figuren und der Welt von Death Stranding - und entfalten sich als eigenständiges Werk voller Tiefe, Kontraste und Atmosphäre.WOODKID, bürgerlich Yoann Lemoine, ist ein französischer Sänger und Komponist. Mit seiner stilsicheren Kombination aus orchestraler Dramatik, elektronischer Präzision und emotionalem Tiefgang hat er sich international einen Namen in der Musik- und Filmwelt gemacht - sowohl als Musiker als auch als Videoproduzent für Künstler:innen wie Rihanna, Lana Del Rey, Pharrell Williams oder Harry Styles. Seine Musik wurde für zahlreiche Film-, Serien- und Videospielproduktionen eingesetzt (Arcane, Assassin's Creed, The Umbrella Academy). Für seine Arbeiten wurde er mehrfach für Grammy- und MTV-Awards nominiert, seine Single "Run Boy Run" wurde weit über fünfhundert Millionen Mal gestreamt. Auch in der Modewelt ist WOODKID präsent - etwa mit Musik für die Shows von Louis Vuitton oder Dior.Über drei Jahre hinweg arbeitete WOODKID eng mit Kojima und dem Team von Kojima Productions zusammen, um Musik zu erschaffen, die weit über klassische Soundtracks hinausgeht. "Jeder Song, jedes Thema wurde in zahllosen Varianten und Schichten komponiert", erklärt WOODKID. Das Ergebnis ist ein Album, das cineastische Orchesterarrangements mit elektronischen Klanglandschaften und eindringlichen Gesangslinien verbindet."Death Stranding 2: On The Beach" ist das neue Werk von Hideo Kojima, einem der visionärsten Köpfe der Gaming-Welt. Als Fortsetzung des vielfach ausgezeichneten ersten Teils, der über 20 Millionen Spieler:innen weltweit erreichte, führt das Spiel die Themen Verbindung, Isolation und Verantwortung in eine neue erzählerische Dimension. Das Spiel besticht zudem durch einen hochkarätigen Cast - darunter Norman Reedus, Léa Seydoux, Troy Baker, Elle Fanning und Shioli Kutsuna - und eine Geschichte, die von den globalen Erfahrungen der letzten Jahre inspiriert ist.Von zarten Melodien bis zu eruptiven Breakcore-Momenten - jeder Track erzählt eine Geschichte. Für die Aufnahmen reiste WOODKID zwischen Paris, Los Angeles und Tokio, um die kreative Vision Kojimas einzufangen. "Es ist manchmal schwer, Hideos Vision ganz zu verstehen, weil sie sich ständig verändert. Man muss dem Prozess vertrauen - und das Ergebnis ist immer überwältigend", sagt er. Was dabei entstand, ist mehr als ein Soundtrack: Es ist ein Manifest künstlerischer Freiheit, ein musikalischer Gegenentwurf zu Konventionen - und eine Hommage an das Anderssein.Die erste Single "To The Wilder" erschien im März 2025 und verzeichnet bereits über 3,7 Millionen Streams weltweit. Das Album erscheint digital, sowie als Vinyl- und CD-Edition - beide mit dem großartigen Artwork des Spiels und als liebevoll gestaltete Sammlerstücke für die internationale Fancommunity.Neben WOODKIDs Album erscheinen zwei weitere Veröffentlichungen zum Spiel: ein Score-Album sowie ein weiteres Song-Album mit noch nicht angekündigten Künstler:innen. Beide erscheinen digital, ebenfalls bei Milan Records.Das Spiel "Death Stranding 2: On The Beach" erscheint am 26. Juni 2025 exklusiv für PlayStation®5.

DJ Support: Raresh, Marco Corola, Jamie Jones, Joseph Capriati, Chris Stussy, DJ Seinfeld, D'Julz, Djebali, Voigtmann, Arapu

For Amsterdam’s Julian Anthony, club culture has always been about movement - between sounds, between scenes, and increasingly, across continents. Rooted in the Dutch underground, his path has taken him from intimate local spaces to international stages, with appearances at institutions such as Berlin’s Hoppetosse, Ibiza’s DC10, and London’s fabric. Along the way, he’s formed close ties with crews such as Slapfunk, VBX, Half Baked, and S.A.S.H, while recent tours across South America and Australia have further widened his reach. His connection with Enzo Siragusa and the FUSE family is longstanding, having previously dropped his track ‘It’s Showtime’ on sister label LOCUS while making appearances at both FUSE and LOCUS events across Europe, including this year at FUSE Malta, during ADE, and November’s fabric takeover. Now, his ‘Missing Pieces’ EP extends that relationship further, marking his fi rst release on FUSE and off ering a natural progression while showcasing his versatility as a producer.

In his productions and his sets, Julian threads together house, techno, and electro infl uences with a playful touch, resulting in a style that feels fl uid yet sharply defi ned. Title track, ‘Missing Pieces’, sets the tone with a heavyweight bassline at its core, coupled with a hypnotic groove and percussive drive, while ‘Endless Echoes’ stretches into more atmospheric territory, weaving rolling rhythms with cosmic textures. On the fl ip, ‘No Sleep’ ups the intensity with zipping synths and sharp drum programming built for peak-time play, before ‘TTS’ closes the record on a captivating note, fusing deeper house nuances and playful rhythms into a late-night trip.

With a growing catalogue across respected imprints such as Dungeon Meat, X-Kalay, and Bee You, and a touring schedule that continues to expand globally, Julian’s first outing for the London favourites highlights his talent for crafting tracks that are simultaneously precise, playful, and built for the club.

Welcome to the first release on Acid Lamour
A sub label for Lamour Records started in 2018 with a focus on techno and acid dedicated DJs. Releases are limited to 303 vinyls, no re-press.
Anders Ilar and John H are no newcomers to the electronic music scene.
Born in 1973, Anders Ilar began his explorations of electronic music in the mid 80s. Growing up in the small town of Ludvika in Sweden, Ilar spent all of his spare time playing with synthesizers, drum machines, keyboards and sequencers, learning the ins and outs of analogue and digital sound and music creation. Inspired by the early industrial and EBM wave he formed several bands with friends, started playing live shows
at smaller local parties, and released several demo tapes in very limited quantities. In the 90's he gradually shifted his creative influences towards ambient techno and acid and also started to DJ. He started using computer software to produce his music around 1999 and his first vinyl EP was released in 2001 on the german label Plong!, soon to be followed by
many more releases on labels such as Shitkatapult, Audio.nl and Echocord.
Developing his own flavor of deep minimal dub techno and ambient he gained critical acclaim with his album Nightwidth (2006) for Narita Records in the USA. Followed by highly appraised album Sworn on the german label Level Records in 2008. Ilar has also made remixes for celebrated artists such as Apparat, Mikkel Metal and Ripperton and has
appeared on numerous compilations and DJ-mixes. He's performed live on stage through-out most European countries and Japan, as well as doing a small tour with Notch Festival in China in 2008.
Up to 2018 Anders Ilar has produced 13 albums and 25 vinyl EP's and performed in over 15 countries.
Born in 1984 and based in Gothenburg. John H has been DJing, as well as producing tracks, since the late 90s, with Anders as his mentor and teacher, giving John early musical influences spanning across a wide range of genres, from Swedish techno to IDM, Cologne acid craziness and
the sound of Chicago house tracks. The musical output of his DJ-sets usually varies between techno, house, acid, electro and everything in between, depending on the time and location. John has performed on several locations all around Sweden, but also done appreciated gigs in other European countries at clubs like Tresor and Culture Box, and his music has been featured in sets by DJs such as Sven Väth, Adam Beyer,
Joris Voorn, Dense & Pika, Cari Lekebusch, Alan Fitzpatrick, Karotte,
Gregor Tresher, The Hacker and many more.
Coming For Your Tongue EP is Anders and John's 4th collab release, after
acclaimed releases on Flight Recorder and New York Haunted, recorded
during a jam session at John's studio in Bergsjön outside of Gothenburg,
Sweden, using a small setup of analogue synths and drum machines such as
the Roland TR-606, TR-808, a Devil Fish modified TB-303, Minimoog Voyager
and the Arturia Microbrute. After recording Anders spiced things up by
cutting and puzzling loops as well as adding extra effects and drums.

Limited edition of 303, no repress. Vinyl exklusive for 3 months

'Yara Asmar’s new album presents 11 pieces recorded over the past year between the small town of Alfred in upstate New York and Beirut. These sometimes fragile and tentative sound sketches reflect the times as Yara steps out, as if onto ice, into a new life on a new continent during a time of tragedy, turmoil and upheaval. She works with unfamiliar instruments, new materials and new sounds to build on her intimate style; homemade mechanical music boxes and a personal archive of family recordings form the backbone of its delicate textures. Asmar explores the peculiar resonance of the metallophone and her collection of deconstructed toy pianos, and guides her music into ever more surreal territories. The result is a work that is dreamlike, fragmentary and strangely timeless.'

On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.