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At this point a regular contributor in defining Token's sound, Border One steps up for his sixth EP on the label in five years. As in many of his past projects, 'Where is Now' bleeds character through effect for a trip on the dancefloor.

Kalita are proud to present a 2-year anniversary repress of Emerson’s 1988 mythical electro boogie grail ‘Sending All My Love Out’, accompanied by two remixes courtesy of the genre’s most respected innovators, Egyptian Lover and Detroit In Effect. Limited to only 500 copies, pressed on electrifying yellow 12” vinyl.

Originally privately released as an obscure 7” single on LAS Records, operated by visionary power couple Emerson and Leora Sandidge, ‘Sending All My Love Out’ has since transformed into a hallowed grail among dance music collectors, enthusiasts and DJs alike, commanding sky-high prices on the second-hand scene.

A late 80’s electro boogie anthem, featuring a heavy mix of synthesizer and drum-machine euphoria, overlaid with Emerson and Leora’s own vocals, the recording truly is in a league of its own.

And to do justice to its legendary status, Kalita has dusted off the original multi-track master tapes and enlisted two of the electro scene’s most revered figures, namely Egyptian Lover and Detroit In Effect, to remix and elevate the track in their own signature style.

A truly special release.

A rising figure of the free scene, L'Art Cène releases his debut album on Jarring Effects after two intense years in the underground tekno circuit, marked by the release of around fifteen vinyl records and tracks reaching over 200K streams. With Dun & Sark, he steps away from the dancefloor to explore a more introspective form of techno, infused with oriental sounds. Born from a live performance in Tunisia in 2023, the album draws from traditional Arabic music and takes inspiration from Acid Arab as much as from Nils Frahm or Gesaffelstein. The project reaches a new dimension with the contribution of Oud player Atef Younsi, who brings an organic warmth and a dialogue between the electronic and the ancestral.Dun & Sark: a techno that travels, feels, and dares.

With HANKY XX, James Eleganz (formerly of Success) and Goulven Hamel (Philippe Pascal, Santa Cruz, The Celtic Social Club) reinvent country music by blending it with sound effects, samples, and a striking cinematic universe. Their debut album, Under A Western Sky, produced by the ZRP label, is a powerful and unique concept album that explores madness, identity, and reinvention. Between poetic narratives and sonic experimentation, HANKY XX surprises with its audacity and originality. The highlight: a completely reinvented cover of Taylor Swift's cult song "The Last Great American Dynasty," already tipped as a hit single. With a vinyl and CD release, HANKY XX offers an album that will appeal to folk and indie fans alike, as well as those curious to discover new musical experiences. A project at the crossroads of genres, tailored to appeal to a demanding audience... and naturally find its place in record stores.

Fin" is the fourth album by Spanish band Exnovios, a group that has been described as a blend of Spacemen 3 influences and the best of Spanish '60s pop. The new dozen songs that make up their fourth LP happily shifts away a bit from to the usual unbeatable formula of this Pamplona-based quartet (garage reverbcore as if sung by Spanish legends Juan y Junior) and add new and fascinating layers-at once fresh yet entirely logical in the evolution of such a unique band within the local scene. Exnovios' new collection of songs wasn't created in a rehearsal space or recorded in a single week in the studio. Rather, it was composed and rehearsed slowly in bedrooms and living rooms-songs that were later brought into the studio with the idea of finishing building them there. Over the course of nearly a year, the band approached each song one by one, in a handcrafted manner, alongside their trusted ally, producer Guillermo Mutiloa. The result is a treasure trove of songs, perhaps more psych-folk than ever, as acoustic pieces abound-full of exquisite melodies without abandoning the consciousness-expanding journeys that have made Exnovios a cult favorite: from the instant classic 'Nubes' (with its very Byrds-like harmonies and gorgeous twelve-string acoustic guitar), to the delightful Big Star-style fiction of 'El cine se queda en silencio', or even the fabulous cover of Stephin Merritt's 'Tú tú tú tú.' These are often drumless tracks, perhaps with some light percussion, always featuring detailed and exquisite arrangements of guitar, electronics, percussion, and even touches of strings. And despite the reduced presence of drums (which, along with the laid-back recording approach, makes this almost Exnovios' "White Album"), fans of the band's legendary fuzz-guitar reverbcore sound won't be disappointed: there's the psychedelic 'Viaje Alucinante', full of their classic riffs; their brutal cover of Psychic TV's 'Godstar' (drenched in echo and eccentric vocal effects); and the perfectly crafted 'Naves Misteriosas', which pulls off the impossible feat of sounding like 'Cerca de las Estrellas'-era Los Pekenikes in the verses, Phil Spector in the chorus, and the Ramones in the post-chorus. And there's much more: percussion reminiscent of the most 'baggy' Primal Scream on the brilliant 'Aún no es tarde'; love lyrics wrapped in an exquisite drum machine soaked in reverb and Suicide-style Farfisa on 'Ha venido a quedarse'; the beautiful two-chord electronic Christmas carol 'Ya es Navidad'; and that lysergic waltz that sings of the peace brought by karmic revenge, carried along by waves of fuzz and delay, titled 'El día del juicio final.' "Fin" reveals more sides and nuances of Exnovios than ever before-a festival of eclectic styles that all remain true to the musical vision that has defined them over the past decade, with their melodic powers at the peak of their talent.

Dutch artist Sander van der Toorn returns to Kit Records, following his much-loved work with analogue-decayed folk duo Love is Yes, in 2024. While Sander's signature haze of tape-smeared synthesis and motorik guitar is ever present, "kom-kom" represents a departure from the elysian warmth of Love's debut.

The industrial throb of tracks like 'FIVE' and 'Rainhum' bear the deconstructed hallmarks of krautrock pioneers Neu!, and even the dystopic glow of artists like Plastikman or Pole. When kom-kom's harmonic ambitions resurface, such as on the synapse-aching 'Dwarsdoor', or the glassy structures of 'Hazenhart', the effect is startling.

van der Toorn cites the inspiration of Morton Feldman and Sarah Davachi when describing his work less as a linear listening experience, more a collection of sculptures that can be viewed from different angles. In this way, kom-kom doesn't have to move forward; the encounter can be one of stillness, of static objects given movement by the beholder's shifting perspective.

Sounds like: John Fahey being stretched into infinitely long pieces of spaghetti.
Recommended if you like: intercontinental rail travel, Mark Fisher, a nice malbec.

Limited edition of 100 cassettes, with risograph printed artwork.

On UFO 23 DJ Fett Burger and Stiletti Ana team up once again.
Their third release together after 2013´s Seriously Goodbye and their 2028 album 358 Men on Freakout Cult. Here the duo is back again with the esoteric mix of disco, dubbed out new age house, with a twist of balearic ambient.

These cut's originally produced in 2018, supposed to be a quick follow up to their 358 Men album. But time wanted it different. Soundwise we are still in the vein of those days, with the strong combination of live drums, warm analog synth driven melodies, vintage studio effects, with a spaced out and esoteric soundscape. A combination of melodic dream landscape, dubbed out deepness, and a driving disco energy.

With two long long epic dream cuts on each side, complimented with a drum bonus and a ambient outro. A danceable and spiritual balearic disco workout!

Enjoy

Long-time NuNorthern Soul contributor, B.J. Smith is a man in demand, dividing his time between solo work, playing guitar in Crazy P man James Baron’s popular JIM outfit, collaborating in a variety of well-regarded projects (Smith & Mudd, Bison and White Elephant amongst them) and composing for TV. Due to this impressive list of musical commitments, solo releases have been few and far between of late, with Smith’s most recent NuNorthern Soul release, a stripped back version of his Big Sur single, dropping late 2023.

It's been ever longer since he delivered a volume in his popular and ongoing Dedications To The Greats series, where the singer-songwriter and composer successfully turns his hand to other people’s songs. Since debuting the series on NuNorthern Soul in 2013 via revelatory and inspired covers of tracks by Mos Def and the Pharcyde, Smith has covered cuts by Outkast, Prefab Sprout and Soul II Soul.

On volume four, Smith’s first volume in the series for five years, he delivers a “cover of a cover” – a revolutionary and imaginative interpretation of Billy Swan’s ‘Don’t Be Cruel’, itself a version of a song first made famous by Elvis Presley. It was their mutual love of Swan’s version that brought Smith together with the release’s most prominent guest artist, Joe Harvey-Whyte, whose lilting, bittersweet and deeply emotive pedal steel performances can be heard across the EP.

Smith provides three contrasting takes. The EP is led by the ‘Mother Earth’ version, a slowly unfurling epic in which waves of effects-laden pedal steel and sun-splashed picking acoustic guitars usher in Smith’s eyes-closed vocalisations, settling into a groove reminiscent of his collaborative work with long-time friend and collaborator Paul ‘Mudd’ Murphy that showcases Harvey-Whyte centre stage to joyful effect. As the 14-minute epic progresses, we’re treated to long, languid electric guitar solos, percussion-laden slow-motion builds and hazy, stretched-out organ solos. It’s a breathlessly brilliant concoction that’s a million miles away from either Swan or Presley’s versions.

In contrast, the similarly epic ‘Earth Heart’ version – available in full vocal and instrumental takes – pushes the song front and centre. Following an extended build up, where Tamar Osborn’s gorgeous and fluid flute motifs rub shoulders with languid guitar solos and Harvey-Whyte’s pedal steel, Smith takes to the mic, delivering an emotive performance of the song’s heartfelt lyrics over a hushed, slow-motion groove. The track builds in waves as it progresses, with Smith layering up instrumentation as it rolls towards a fine conclusion.

Completing a superb package is the ‘Root Heart Version’, a Balearic-meets-Americana take built around shuffling drums, toasty bass guitar, extended pedal steel instrumentation, flashes of flute and Smith’s sun-bright acoustic guitar. Loved-up and more than a little saucer-eyed, it’s a bona-fide sunset delight.

Two titanic forces in reggae history — Roots Radics and The Mighty Revolutionaires — unite for a powerful dubwise journey on Outernational Riddim. This long-anticipated collaboration blends heavyweight rhythms, militant drum patterns, and deep, atmospheric dubs that channel the essence of Jamaican roots music with a forward-thinking production style.
The Roots Radics, known for backing icons like Gregory Isaacs, Barrington Levy, and Israel Vibration, bring their unmistakable heavyweight style to this session. Meanwhile, The Revolutionaires, studio legends behind countless Channel One classics, lace the tracks with their tight arrangements and classic rockers grooves.
Produced and mixed in true dubwise tradition, Outernational Riddim delivers:
Authentic Studio Vibes – Mixed on analog boards with vintage effects and tape echo for that raw, immersive sound.

Chris Menist pares his sound right back for A book of imaginary beings, his fourth Awkward Corners outing with a project of electronic and abstracted global grooves. Experimenting with simple melodies and uncluttered arrangements, as well as taking inspiration from the Borges' short stories alluded to in the title, the project took shape in the early part of 2025, in the shorter days and dark evenings of January.

The initial challenge was to knock a basic track into shape each evening after work, then refine it later. There's a melancholy in the air in late winter, compounded by the creeping threat of national and geopolitical instability. Ulla, Natural Information Society, Jabu, Torso and Dawuna formed some of the background soundtrack as each tune took shape.

The track titles came after sitting with the sounds for a while, giving shape to images of people, creatures and their stories for a book that is yet to be written.

Two former friends sets the tone for the album perfectly as a minimal electronic piece with a slowly simmering synth bassline underpinning the groove whilst the trademark Awkward sound of the Shahi Baaja enters drenched in effects. It's the first demonstration of Chris' unique ability to create a world from apparently very little.

Dance of the silver beetles is completely unique in that we can hear chopped up Illimba samples seemingly playing backwards and forewords sometimes alone, sometimes together in duet with Chris' conga rhythms. Add to that a more conventional Illimba melody and added shaker percussion and you have one of A book of imaginary beings most curious chapters.

Anxious shadow puppets is closer to the Awkward Corners sound from previous albums as electronic pulses move around the arrangement with the urgency that the track title suggests. Chris' percussive roots move to the fore with the congas that tie down the Paradise Bangkok Molam International Band's sound. Here, the bassline is more playful and works together with one of Chris' many African Illimbas.

Fans of Chris' adventures on his Roland 808 will dig A leopard with no spots, although the minimal mood continues to flow through on this track. The lolloping, but hard-hitting rhythm track provides the grounding for strange and twisting feedback-sounding tones to work the soundscape.

Abandoned boy (left in charge of the family business) is Awkward Corners at his atmospheric best. Drift off to the sublime sounds of Chris exploring the Shahi Baaja, whilst a soft, repetitive synth line and abstracted pads give the listener that feeling of meditation and peace.

Flamingo with bandaged neck is A book of imaginary beings' perfect coda and is exclusively Shahi Baaja draped in reverbs and delays. It feels like the resolution and the closing of a book that – as of yet – remains unwritten.

Awkward Corners is Chris Menist, a musician, DJ and writer. It started life as a small project in Islamabad, where Chris was living at the time. Initial recordings were made with local musicians in Pakistan and then subsequently in Thailand. This culminated in the Sweet Decay LP that came out on Finders Keepers' Disposable Music in 2014, and in turn led to a limited tape release on Boomkat/Reel Torque of original compositions and re-edits of Thai 45s the same year. Chris released – Dislocation Songs – his second LP proper with Shapes of Rhythm in May 2020, collaborating on many of the tracks with award-winning performer Sarathy Korwar. The LP was picked up by many radio stations including NTS, Resonance FM, BBC 6 Music, Balamii and many more. It made Tom Ravenscroft's LPs of 2020. Amateur Dramatics, Chris' second LP arrived just a year later in 2021 and was a more ambitious project featuring more jazz-focussed compositions and featuring Tamar Osborn and Kitty Whitelaw. Shortly after that came another pivot with the heavier, dancefloor-friendly EP Somebody Somewhere. Somebody Somewhere is Dancing in a Field brought the House (yes House!) vibes, whilst Hector Plimmer turned in a remix of No Words in the same club mood.

As one of NTS Radio's longest-standing presenters, Chris continues to hold down the Paradise Bangkok show. Playing drums and percussion since he was a kid, Chris is the percussionist for The Paradise Bangkok Molam International Band as well as co-founding the record label of the same name. Chris has curated compilations for labels such as Finders Keepers, Soundway and Dust-To-Digital. He has been featured on the Boiler Room, Vinyl Factory Collections, played at the Four Tet curated Nuits Sonores festival, and has put together an edition of Volumes which featured unreleased Awkward Corners compositions.






[d] 04: All the Goodbyes (You Tried to Defer) [Original]





[j] 10: Abandoned Boy (Left in Charge of the Family Business) [Original]

Kyoko Koizumi, aka Kyon Kyon or Kyon², was one of the most popular and best selling pop idols through the 80s & 90s and on this album, thanks to the vision of Haruo Chikada as a producer, an unlikely combination of her vocals with the burgeoning sonics of house music takes place to great effect. What must have seemed like a cultural anomaly to contemporary audiences, particularly so early into the canon of house music (this record saw the light of day in 1989), we can now retrospectively recognise that not only does this album succeed as a snapshot of the musical zeitgeist of the time - it also predicted the unification of house & dance music with commercial pop sensibilities that has remained in the culture in the decades since. However, what is happening sonically on this record goes beyond anything disposable or vapid that might come to mind when one thinks of Pop forays into house music - we are served up menacing acid lines, hip-house rhythms and even some digi-dub excursions

Fog is Marija Rasa’s debut album on Short Span as emer, and her first cut to wax. It follows a single featuring Ugnė Uma for Stroom and a wonderful debut tape for the now cult (I hope!) incubator label Lilerne Tape Club.

It’s for dreamers. Very dub. Soul. Ambient too. A bit of Detroit-like post industrial imagining. You can read it is as a new and different version of a very classic dub technique from the producer in many ways - Marija at the mixing console and effects desk, conjuring a new versioned music through radical restructuring and an instinctive reshaping of space + melody + lyric in studio experimentation.

Tracks are pinned down by thick and enveloping bass while other elements float in and out, fleeting narcotic or hypnagogic notes of fantasy and song form bob in and out of focus. Scant colours and disorienting voice and melody sit suspended, occasionally coalescing and breaking out into moments of radiant beauty and slowly burning manifestations of warmth and presence shooting through the heart and gut.

Something most fitting in places like main floor Sunday night at Cocktail D’Amore. Well produced big room sound for DJ use, by DJ turned studio magician Jonathan Kussuma, who’s efforts need little convincing of how effective they might be on a dance floor. 4 masterful exercises in heavy percussive action interlaced with deep industrial sounds and hypontizing synth use, portraying a highly unique aesthetic from the well versed Indonesian producer/DJ.

Backspin - the imprint launched by Regal as a love letter to early 2000s Hardgroove - welcomes techno titan Marco Bailey with the 'Drivetonik' EP: a powerful blend of past and present that pays homage to Hardgroove's golden era while keeping the focus firmly on today's dancefloors.

The EP opens with the title track 'Drivetonik', a brand-new production that sets the tone: raw, rolling and built to move bodies. A straight-up Hardgroove banger, it's Bailey at his most focused. All momentum, no compromise. What follows is a rare treat for longtime heads: three classic tracks, originally released on the legendary Primate Recordings, now freshly remasteredfor 2025. 'Hustler' brings the bounce with its infectious and instantly effective sound. 'Karma' leans into tribal rhythms and percussive layering, while 'Konverter' cuts through with synth stabs and vocal chops, offering a punchy, streamlined ride through early-2000s funk. To close things out, Swedish Hardgroove legend Hertz steps in to rework 'Konverter', injecting his signature style into a remix that's as crisp as it is driving, a perfect fusion of old-school grit and modern precision.

With each release, Backspin Records continues its mission to rediscover, revive, and redefine the foundations of 2000s groove-driven techno. With the 'Drivetonik' EP, Marco Bailey shows us why his legacy remains firmly embedded in the genre's foundation.

Effective Well Dressed Dhampires

Recorded in Switzerland and mastered in Madrid, on Deságua Mello blends classical harp training with experimental techniques, creating a rich sonic journey that pushes the boundaries of the instrument. Brazilian harpist and composer Marina Mello presents Deságua, her solo debut released by the Peruvian label Buh Records. Based in Zurich, Mello has developed a unique and expressive approach to the harp, combining her classical training with a deep exploration of the instrument's sonic possibilities. Deságua is the result of this process: an intimate and expansive work that traverses sonic landscapes rich in contrast and texture. In the artist's own words, this album is a synthesis of material developed through her musical practice. The title refers to the Portuguese word that describes the moment a river flows into the sea. This concept guides the album's sonic narrative, in which each piece functions as a tributary flowing into an immersive and unexpected listening experience. From bittersweet whale-like sounds to destructive, unsettling, and shattering noise provocations, she explores, senses, and transcends the musical boundaries of her instrument. The album presents a wide range of sounds and styles, yet maintains a strong internal coherence through its technical and conceptual exploration of the harp. Mello performs on both lever and pedal harps, employing a range of non-traditional techniques: preparing the instrument with objects, using guitar effects pedals, detuning the strings, and using close mic recording to capture the subtlest sounds and the shifts that lie between them. The result is a collection of pieces that move between the melodic and the dissonant. Deságua does not shy away from repetition, noise, or raw textures. Instead, it embraces them fully, situating the album at the crossroads of contemporary music, improvisation, and electronic experimentation.

Originally released in 2009, Céu"s Vagarosa is a landmark of 21st-century Brazilian musicc- a lush, genre-blurring journey that weaves samba, dub, psychedelic soul, and electronic textures into a sound cboth timeless and futuristic. Now reissued on vinyl, this essential album invites listeners to rediscover its warm, analog charm. From the opening track "Sobre o Amor e Seu Trabalho Silencioso," with its cavaquinho and vinyl crackle, to the dub-infused "Cangote," where organ swells and basslines intertwine, Vagarosa showcases Céu"s ability to blend traditional Brazilian rhythms with global influences. Her reinterpretation of Jorge Ben"s "Rosa Menina Rosa" transforms into a psychedelic swirl of reverb and phasing effects, maintaining its breezy essence. The album"s closing track,"Espaçonave," features rainforest sounds and multi-tracked vocals layered over fuzzed-out guitar, reminiscent of the art-pop sensibilities of artists like Natalia Lafourcade. Critically acclaimed upon release, Vagarosa reached No. 2 on the US Billboard World Music chart and was nominated for a Latin Grammy Award for Best Brazilian Contemporary Pop Album in 2010. Its innovative production and Céu"s ethereal vocals have cemented its status as a modern classic in Brazilian music. This vinyl reissue captures the album"s rich textures and sonic depth, offering both longtime fans and new listeners an opportunity to experience Vagarosa in its full analog glory. Remastered by Colorsounds Paris.

Returning after four years, Los Angeles indie-pop band Massage unveil Coaster, a luminous 10-track album steeped in melodic depth and emotional honesty. Widely recognized for their infectious pop sensibility, the five-piece approach the turbulence of adulthood through shimmering pop songs that capture both nostalgia and growth. Drawing inspiration from The Cure, Big Star, Echo and the Bunnymen, and The Go- Betweens, Massage now transcend their influences, offering a sound that's uniquely their own. Coaster is a testament to the band's evolution-embracing the "inbetween," writing pop songs that linger. What makes compelling is how three musicians take on writing and vocal duties, leading to stylistic shifts between tracks while maintaining a cohesive, signature sound. Across the record, the band's lyricism explores the messiness and resilience of adulthood-resolving to keep moving forward, even when life is uncertain. The recording process mirrored these themes: a willingness to make mistakes, hit reset, and chase down the unique world within each song. This is the soundtrack of five friends navigating life's unpredictability together. Their chemistry and shared history create moments of spontaneous brilliance- whether in the driving interplay between guitars, the pulse of vintage effects, or the heartfelt harmonies threading the album. Coaster is more than a collection of standout pop songs; it documents growth and camaraderie, bridging nostalgia with honest self-reflection and crafting melodies that linger long after the final note.

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

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

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

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

RESPECT.... JAH FLOYD

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

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

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

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


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

Big D’A covers two classics in his indomitable style. First up his rendition of Roy Ayers summer Anthem. On the flipside Creative Source anthem later covered by EW & F gets the Nu Soul treatment to fine effect with layers of harmonies and punchy brass stabs .

Originally released in 2012, "Choice of Weapon" was recorded in the California desert with Chris Goss at the helm and finished by long-time collaborator Bob Rock. Driven by the lead single For the Animals, "Choice of Weapon" earned iTunes" Rock Album of the Year in 2012 and debuted at #1 on the UK Rock Chart. Out of print since the original pressing, it has become one of The Cult"s most sought-after modern releases. Pressed on Limited Edition colour-in-colour effect vinyl: LP1 red & black, LP2 purple & black. Gatefold Sleeve.

"“Their best album in years – probably decades.” – Record Collector
Pressed on Limited Edition colour-in-colour effect vinyl: LP1 red & black, LP2 purple & black in a Gatefold Sleeve.

Originally released in 2012, Choice of Weapon was hailed as The Cult’s most vital work since their ’80s heyday – a powerful, mature record that proved Ian Astbury and Billy Duffy still had fire to burn. Recorded in the California desert with Chris Goss at the helm and finished by long-time collaborator Bob Rock, the album channels the lush guitar layers, earworm melodies, and gothic swagger fans love, while venturing into fresh territory – from the blues of A Pale Horse to the stomping drama of Honey From a Knife.

Driven by the lead single For the Animals, Choice of Weapon earned iTunes’ Rock Album of the Year in 2012 and debuted at #1 on the UK Rock Chart. Out of print since the original pressing, it has become one of The Cult’s most sought-after modern releases."

Here to dazzle you by the power of the disco ball, Lack of Afro is your friendly neighbourhood ‘Love Dealer’. Two years on from the funk & soul rebirth of ‘Square One’, powered by the ubiquitous ‘Loving Arms’ featuring Greg Blackman, Lack of Afro aka Adam Gibbons is now close to two decades deep in the game with soundtrack credits galore and online streams doing calculator-busting numbers. With extensive touring taking ‘Love Dealer’ up and down the country this Autumn, Gibbons’ ninth studio album is all for "the thrill of seeing people on a dancefloor, all collectively locked into a track that you've produced - there’s nothing like it!”.


‘Love Dealer’ is the authentic modern disco experience, packing a stacked sole’s worth of club beats full of stardusted sing-alongs, style-outs and French touch-style cool. Despite being “written during one of the longest winters in living memory”, ‘Love Dealer’, featuring some co-production from fellow South Coast dancefloor scholar Flevans (and influenced by producer du jour Barry Can’t Swim), exudes warmth and will make you sweat when its highs take effect.


Entering the scene with the radiance of ‘Make It Shine’ featuring Greg Blackman, washing over the airwaves of BBC 6 Music and Radio 2 and taking up a 10-week residency on the Jazz FM playlist, Gibbons and his crack line-up of discotheque players are your go-to team when you can’t wait for the weekend to begin, as subtle as they are straight down to business. ‘Love Dealer’ offers you nothing but the best in sparkling string symphonies, the hippest guitar licks, samples of those invited beyond the velvet rope and struts soaked in night fever.


Double A-side ‘Walls Start Rockin’ and ‘Heart & Soul’ guide the album’s glamour-and-groove, while ‘Love Saves The Day’ and ‘Plain to See’ dramatically take to the podium in a shimmer of pure peak 70s theatre. ‘Keeping Me Strong’ is the synergy of disco chic and the sound of a global advertising tie-in with Dyson, ahead of Gibbons taking a slightly Moroder/Cerrone-ish detour on ‘Idolising People Like Madlib’. “'Love Dealer' is aimed unequivocally at the dancefloor" says Adam. "As an artist, I wanted to push myself in a slightly new direction - more into the land of disco and a four to the floor sound. 'Love Dealer' is quintessentially an upbeat record, full of joy, optimism and hope for the future”. Seek your inner ‘Love Dealer’, kink your ‘fro and let your funk flag fly.
















n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[BONUS TRACK]

Stone classic Bullwackies (as excursioned by Rhythm & Sound for Burial Mix), sensationally featuring two unreleased dubs, newly extracted from the master reels. Both are equally unmissable but quite different, with contrasting effects: the second dub adds ninety seconds, including whip-dem spring reverb. Drawn from the Selective Showcase LP, the vocal mix is more open and dubwise than the Sing & Shout LP offering, with less keyboards.
Asked whether it should be mash or march, after some pondering Bullwackies replied: "That's a good question.'

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

Swedish trio Death And Vanilla follow their much-praised re-imagined soundtracks to `Vampyr' (2017) and `The Tenant' (2018) with their interpretation of the soundtrack to cult 1968 TV show `Whistle And I'll Come To You'. Ltd White Vinyl LP, Soundtrack / Electronic / Indie At a time when post-ambient electronica and bedevilled folk music are co-habiting, and the public's interest in Pagan rites and rituals has been sparked by a new generation of fans. The bizarre storyline of Whistle And I'll Come To You seems even more pertinent_ and strangely haunting. The Jonathan Miller-adapted 1968 ghost story was originally part of BBC's Omnibus series and featured Michael Horden as a fussy professor who discovers an ancient whistle which summons up the spirits. A black and white folkloric tale in the style of The Wicker Man, the original TV programme received rave reviews. The esoteric live score was recorded at the Hypnos Theatre in Malmö. The 42-minute soundtrack utilises stuttering tape loops on `Intro' before breathing new life into the primitive John Carpenter-like drum machine on `Supernatural Breakfast', while `Walk On The Beach 2' sounds like a hauntological rendition of a Broadcast classic. Indeed, that effect is amplified on `Nightmares', with its swirling wind and other-worldly choral effect, before the feeling of some supernatural presence is suggested on the penultimate cut `Evidence Of Spiritualism'.

Here to dazzle you by the power of the disco ball, Lack of Afro is your friendly neighbourhood ‘Love Dealer’. Two years on from the funk & soul rebirth of ‘Square One’, powered by the ubiquitous ‘Loving Arms’ featuring Greg Blackman, Lack of Afro aka Adam Gibbons is now close to two decades deep in the game with soundtrack credits galore and online streams doing calculator-busting numbers. With extensive touring taking ‘Love Dealer’ up and down the country this Autumn, Gibbons’ ninth studio album is all for "the thrill of seeing people on a dancefloor, all collectively locked into a track that you've produced - there’s nothing like it!”.


‘Love Dealer’ is the authentic modern disco experience, packing a stacked sole’s worth of club beats full of stardusted sing-alongs, style-outs and French touch-style cool. Despite being “written during one of the longest winters in living memory”, ‘Love Dealer’, featuring some co-production from fellow South Coast dancefloor scholar Flevans (and influenced by producer du jour Barry Can’t Swim), exudes warmth and will make you sweat when its highs take effect.


Entering the scene with the radiance of ‘Make It Shine’ featuring Greg Blackman, washing over the airwaves of BBC 6 Music and Radio 2 and taking up a 10-week residency on the Jazz FM playlist, Gibbons and his crack line-up of discotheque players are your go-to team when you can’t wait for the weekend to begin, as subtle as they are straight down to business. ‘Love Dealer’ offers you nothing but the best in sparkling string symphonies, the hippest guitar licks, samples of those invited beyond the velvet rope and struts soaked in night fever.


Double A-side ‘Walls Start Rockin’ and ‘Heart & Soul’ guide the album’s glamour-and-groove, while ‘Love Saves The Day’ and ‘Plain to See’ dramatically take to the podium in a shimmer of pure peak 70s theatre. ‘Keeping Me Strong’ is the synergy of disco chic and the sound of a global advertising tie-in with Dyson, ahead of Gibbons taking a slightly Moroder/Cerrone-ish detour on ‘Idolising People Like Madlib’. “'Love Dealer' is aimed unequivocally at the dancefloor" says Adam. "As an artist, I wanted to push myself in a slightly new direction - more into the land of disco and a four to the floor sound. 'Love Dealer' is quintessentially an upbeat record, full of joy, optimism and hope for the future”. Seek your inner ‘Love Dealer’, kink your ‘fro and let your funk flag fly.
















n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) BONUS TRACK














n B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]














[n] B7. 14 Your Love (feat. Jonah Hitchens) [BONUS TRACK]

“Warning! Night Time Listening Advised!”

In early spring 2023, with the end of COVID-19 in China, MK helped produce this album for Rubey. Focusing on the piano atmosphere and framework of the Night Piano Project, MK added some flowing sounds and textures to Rubey’s original tracks using a guitar, delay effects, and a synthesizer. At the same time, Ding Mao, another member of the band Hualun, contributed on two tracks. Of course, all production processes were completed at night; capturing the quiet atmosphere of traditional Eastern natural landscapes and transforming them with indoor amorous feelings. These melodies and notes wander and travel through different times and spaces, and ultimately converge in different rooms.

“In Different Rooms” is the second solo album by Rubey, a keyboardist from the band Hualun. It is also Rubey’s second album release since producing the soundtrack for the movie “Virgin Blue” in 2022. It includes 8 works created between 2020 and 2023. Rubey and MK are located in Beijing and Shenzhen respectively. Just like many of Hualun’s works, the original idea for “In Different Rooms” came from Rubey’s daily piano improvisation practice. Named the “Night Piano Project”, Rubey would spend his nights playing his YAMAHA electric piano.

Remastered using pure analogue components only, from the master tapes through to the cutting head.

Ornette Coleman, who died in June 2015 from cardiac arrest, must be counted as one of the most influential musicians in the jazz genre. His importance does not only lie in his ground-breaking recordings in the late Fifties and early Sixties, but lies more significantly in the educational effect of his work – in the fact that he always went beyond himself to the very end.

Just a little more than a month after his ground-breaking release "Free Jazz", Coleman recorded the present album, in which he perhaps distanced himself somewhat from the conceptual idea, but still guided his quartet to ever more richness of detail and creativity. "Ornette!" was the first recording with bass-player Scott LaFaro and Coleman, and the difference in approach between LaFaro and Charlie Haden is noticeable from the very first note of "W.R.U.". His playing is more direct and agile, and one can hear how he drives Coleman and Don Cherry actively onwards and more aggressively than Haden’s warm, languid phrasing.

The tracks, with titles that are taken from the works of Sigmund Freud, are all gems and serve as a wonderful starting point for the musicians’ improvisations. By now, Coleman felt himself comfortable in lengthy pieces, and neither he nor his fellow musicians had trouble in filling out time, never once lacking for new ideas. Ed Blackwell deserves a special mention – he shows himself here at his very best. "Ornette!" is a superb release and an absolute must for all fans of Coleman and creative, improvised music in general.

Heavy-weight club tracks! Activity FM launches with a bang. The first V/A EP sets a bold tone: four heavyweight cuts built for serious floors. DJ Hell leads with Scale, a pounding darkside anthem. Truncate follows with Where Do We Go - a peak-time acid weapon. Detroits DJ T-1000 delivers No Victims Only Volunteers, a fierce dose of machine funk mastery. Closing it out, UK legend Mark Broom unearths Nineties - an unreleased time capsule from 92-93, straight from the DAT vaults.
Artwork by Activity Vision.
Full support from Ben Sims, DJ Bone, Detroit In Effect, The Advent, Marcel Dettmann, Jerome Hill, Alienata, Slam, Sol Ortega, Om Unit.

With his first EP on Token, Phara conjures up four tracks detailing dancefloor impact with robust personality. In 'Second Skin', the Belgian artist is eager for resolution, keeping tension high with the bold analog sound he's known for. Coming eye to eye with the label's sound, Phara pays homage to Token while fiercely defending years of artistic direction - layering the label's astral ambiance with his unstoppable movement.

'Second Skin' sets Phara's intentions clear. The titletrack rolls forward like heavy machinery with what seems like shifting vocals breathing life into the stereo image. This first cut is a gold standard of peaktime production, creating a sense of purpose at the core of urgency. Claps and rides boom and whip around the track that lumbers on with chord stabs to add soul to flare. 'The Ring', however, takes the listener into another direction. Heavily centered on the drum sequence with a sharp slap-back delay, Phara plays with resonance, sparking psychosis amongst movement. Playful in the short term, 'The Ring' proves to be an ultra-hypnotic track reserved for a set's high intensity stretches on an already surrendered dancefloor. Taking this energy and pulling it in, 'Neon' comes to establish a bit more intimacy at first. Here, the producer diffuses his elements into themselves and, in turn, creates a thick ambiance that drives the record forward in space and dissonance. 'Neon' is inquisitive and almost spiritual in its effect, playing with the line between a unified dancefloor and an introspective journey. The conclusion to the EP is 'Blood', a return to dryer production - at least in the beginning. Ambient, almost psychedelic synth work sucks in the listener over unwavering energy to create a closing track worthy of its name. Rolling through to the end, 'Blood' delivers the final blow to an insatiable record on Token by Phara.

More Rice and Jugaar Records – Two Bangkok-affiliated labels – bring together an assemblage of their mutual friends for a heady, floor-focused VA with moods to soundtrack peak flow, after-hours rabbit holes, and just about everything in between.

Rudoh of Jugaar Records fame kicks us off with ‘Madoh’, a bendy groove that initially bares flex of early 2000s Minimal with its trimmed, rubbery percussion and obscured vocal snippets. As the track progresses, a hefty break and a catchy synth line bolster things before breakdowns unfold like little trippy slumbers rudely interrupted by bold, punchy drops.

Next up is Tokyo legend Gonno who follows up with ‘Rad’, a broad-shouldered banger propelled by a heaving kick and clap combo. A wrought synth is paired with odd shocks of acid and a sequence that flickers like a strobe. All the while a thick, gnarled bass line rumbles underneath, keeping vibes at boiling point throughout.

More Rice’s DOTT follows up with a swampy excursion propelled by a potent kick and nimble submarine tones. Drums are neatly stacked in polyrhythms as an infectious swing unfolds, one that’s decorated with ghostly synths and a generous dose of psychedelic synthesis.

Sarayu – also of More Rice fame, closes things up with ‘Fuijan Groove’, a brilliantly lean cut that lets the subs do the talking. Sharp tonal blobs flesh out a simple but highly effective march as spectral pads expand in plumes of smoke until the conclusion of a rich and varied record that unites two kindred labels perfectly.’

‘More Rice and Jugaar Records – Two Bangkok-affiliated labels – bring together an assemblage of their mutual friends for a heady, floor-focused VA with moods to soundtrack peak flow, after-hours rabbit holes, and just about everything in between.

Rudoh of Jugaar Records fame kicks us off with ‘Madoh’, a bendy groove that initially bares flex of early 2000s Minimal with its trimmed, rubbery percussion and obscured vocal snippets. As the track progresses, a hefty break and a catchy synth line bolster things before breakdowns unfold like little trippy slumbers rudely interrupted by bold, punchy drops.

Next up is Tokyo legend Gonno who follows up with ‘Rad’, a broad-shouldered banger propelled by a heaving kick and clap combo. A wrought synth is paired with odd shocks of acid and a sequence that flickers like a strobe. All the while a thick, gnarled bass line rumbles underneath, keeping vibes at boiling point throughout.

More Rice’s DOTT follows up with a swampy excursion propelled by a potent kick and nimble submarine tones. Drums are neatly stacked in polyrhythms as an infectious swing unfolds, one that’s decorated with ghostly synths and a generous dose of psychedelic synthesis.

Sarayu – also of More Rice fame, closes things up with ‘Fuijan Groove’, a brilliantly lean cut that lets the subs do the talking. Sharp tonal blobs flesh out a simple but highly effective march as spectral pads expand in plumes of smoke until the conclusion of a rich and varied record that unites two kindred labels perfectly.’

Finally, the pioneering first album from the group that epitomized the spontaneous, simultaneous and glorious emergence of the Hip-Hop and Electro Funk genres is back on vinyl. The song "Where's the Beat" has been extracted due to it's not actually being made by the group, but every other note and beat is included as it was originally released, from the opening narration and the sound effects joining the songs to the classic Hip-Hop and Electrofunk in-between. Also included for the first time anywhere is the previously unreleased track “Disco Kryptonite”!

Whether you are a big fan of Newcleus, or a serious connoisseur of Old School Hip-Hop or Electro, or just a lover of good music, your collection is incomplete without this incredible reissue of Newcleus' classic Jam On Revenge on vinyl!

Heavy-weight club tracks! Activity FM launches with a bang. The first V/A EP sets a bold tone: four heavyweight cuts built for serious floors. DJ Hell leads with Scale, a pounding darkside anthem. Truncate follows with Where Do We Go - a peak-time acid weapon. Detroits DJ T-1000 delivers No Victims Only Volunteers, a fierce dose of machine funk mastery. Closing it out, UK legend Mark Broom unearths Nineties - an unreleased time capsule from 92-93, straight from the DAT vaults.
Artwork by Activity Vision.
Full support from Ben Sims, DJ Bone, Detroit In Effect, The Advent, Marcel Dettmann, Jerome Hill, Alienata, Slam, Sol Ortega, Om Unit.

Carrboro, NC’s inimitable synthesizer duo MARV follow up their well-received 2021 opus Keyboard Suite I with a second volume co-released by enmossed and Softer Recordings. As a (regrettably) posthumous release, Keyboard Suite II documents MARV in their fully matured state with melodies that eschew easy categorization and a much-expanded studio effects and processing palette. But the same dreamy languidity marking their previous releases remains, drawing us into their visions of a summer day spent in the shade, by a babbling creek. As a storm approaches from the distance - keyboards saturated by tape into distortion, bursts of noise from idiosyncratic electronics, aleatoric stuttering - MARV grants us an album’s worth of sonic sublimation.

A Milan-born multi-instrumentalist of Venetian heritage, Alberto Baldan Bembo was a gifted vibraphonist, organist, pianist, arranger, and composer whose work bridged jazz, pop, and film music. By the early 1960s, he was performing with Italy’s leading ensembles, including I Menestrelli del Jazz and Bruno De Filippi’s group, and soon became an in-demand session musician. For several years, he toured with the legendary Mina, providing the piano and organ backbone to her live shows—a role that sharpened the cinematic sensibility and refined musicianship that would later define his soundtrack work. In the years to come, he would be celebrated for his scores to films such as L’Amica Di Mia Madre (1975) and Lingua Argento (1976), earning a place alongside Piero Umiliani, Alessandro Alessandroni, Berto Pisano, and other luminaries of Italy’s golden age of soundtrack and library music.

Io E Mara is the soundtrack to a film that was never made. Originally released on the CGD label in 1969, this debut album from the brilliant Maestro Baldan Bembo is a sophisticated concept-album tracing 24 hours in the life of two young lovers. Told entirely through music, the record unfolds as a continuous suite of ten tracks, where cinematic lounge, bossa, and jazz flavors mingle to create a dreamlike atmosphere. Baldan Bembo’s signature piano and organ are masterfully complemented by Mara’s ethereal vocals, while immersive soundscapes of crashing waves, seagulls, and rain showers enhance the feeling of a deeply personal and intimate journey. A cast of exceptional musicians brings this vision to life, including Bruno De Filippi on electric guitar and sitar, Carlo Milano on electric bass, Rolando Ceragioli on drums, and Pasquale Liguori on sound effects. This singular work not only showcases the burgeoning talent of a future soundtrack master but also features the original pop art front cover by Italian cult illustrator Guido Crepax.

END[GER] Die Band Wednesday aus Asheville, North Carolina errichtet im Laufe der zehn Songs von "Rat Saw God" einen Schrein voller aufregender Details: Halb lustige, halb tragische Botschaften aus den Südstaaten, die sich klanglich irgendwo zwischen dem wimmernden Skuzz von Neunzigerjahre-Shoegaze und klassischem Country-Twang entfalten - mit verzerrter Pedal Steel und Frontfrau Karly Hartzman, die mit ihrer Stimme, den Lärm durchschneidet. Ein Song von Wednesday ist wie ein Quilt. Eine Kurzgeschichtensammlung, eine verschwommene Erinnerung, ein Flickenteppich aus Porträts des amerikanischen Südens, der disparate Momente einfängt und als Ganzes doch irgendwie einen Sinn ergibt. Karly Hartzman, die Songschreiberin, Sängerin, Gitarristin und Leiterin der Band, ist eine Geschichtensammlerin als auch eine Geschichtenerzählerin: Eine aufmerksame Beobachterin von Menschen und witzigen Bemerkungen. "Rat Saw God", das neue und beste Album des Quintetts aus Asheville, ist ekphrastisch, aber ebenso autobiografisch und vor allem sehr einfühlsam. Es wurde in den Monaten unmittelbar nach der Fertigstellung von dem zweiten Album der Band, "Twin Plagues", geschrieben und innerhalb einer Woche im Drop Of Sun Studio in Asheville aufgenommen. Die Songs auf "Rat Saw God" erzählen keine Epen, sondern das Alltägliche. Sie sind lebensnah, erzählen vom wahren Leben, sie sind verschwommen und chaotisch und seltsam zugleich - was Hartzmans eigenem Ethos entspricht: "Everyone's story is worthy. Literally every life story is worth writing down, because people are so fascinating." A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.