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Take Me, I’m Yours is the first collaboration album between Alan Abrahams and Jan Jelinek. Released through the latter’s faitiche, it builds upon multi-layered vocal sketches by the former. The Paris-based artist, primarily known for his work as Portable and Bodycode, supplied Jelinek with multi-layered song sketches that the German artist subjected to a rigorous process of manipulation, excavating the ambiguities of the original material and transforming its rhythms into subtle pulses. Take Me, I’m Yours is neither a typical Abrahams record nor a classic Jelinek album—it is something third, mediating between the physicality of the voice and the abstraction of electronic sound design.

The two had crossed paths before really getting to know each other after Abrahams invited Jelinek to play at one of his Süd Electronic parties. The idea of a collaboration emerged slowly. “It started as an experiment, and over the past few years grew from a few tracks into this album,” says Abrahams. He describes recording the basic material as a “tantalizing” process, not knowing how Jelinek would transform his material, some of which was based on wordless chanting, while other tracks were working with lyrical content. However, their mutual trust allowed Jelinek to remove the harmonies, radically reduce the rhythms, and concentrate on Abrahams’ voice.

Jelinek heard something “fragile” in this voice, “moments of doubt and dark premonitions.” He points to Forever as an example. “Alan’s original song reminded me of classic vocal house, but his voice seemed to almost break,” he says. “This contradiction made the piece even bigger, because we hear a singer in the moment of an awakening.” He further accentuated such tensions through arrhythmic synth modulations and time-stretching algorithms, while also adding concrete sounds from a variety of sources. With its dedication to both transforming and amplifying the emotional qualities hidden within Abrahams’ pieces, Take Me, I’m Yours functions as a dialogue between those two singular artists.

For fans of post-punk and new wave, some songs aren’t just classics — they’re emotional landmarks. Joy Division’s “Love Will Tear Us Apart” and The Cure’s “A Forest” (both released in 1980) helped define an era, shaping decades of alternative music with their stark honesty, atmosphere, and unmistakable sound. Revisiting them is no small task.

Reimagining them successfully is even rarer. This special, limited 7” release — pressed to just 300 copies — does exactly that, thanks to legendary Dutch electronic producer Maarten van der Vleuten. A joint effort between Maarten’s own Signum Recordings and American chill-out imprint re:discovery records, he brings these two towering songs into new territory through the hands of an artist who understands both history and transformation. On one side, Maarten delivers a striking cover of “Love Will Tear Us Apart,” taking on Ian Curtis’ immortal lyrics himself. Rather than mimicking the original’s desolation, this version reframes the song into something unexpectedly inspirational and equally moving. It’s respectful, deeply personal, and emotional. Flip the record and “A Forest” is reborn as an ambient-electro journey, marking the vocal debut of Melbourne-based Linda Kastanja.
The result is dynamic and powerful, retaining the song’s eerie tension while expanding its atmosphere into something spacious and cinematic. Honoring their legacy while reshaping their form, it offers longtime fans and new listeners a rare opportunity to hear familiar emotions from a completely new perspective. Todocument this release, a music video has been made for “Love Will Tear Us Apart,” directed by Maarten and edited by Tobias Grönvall, aka Unit 21.

Nothing marks a return to wax like gathering members of our worldwide family to showcase vastly forward thinking production.

Featuring Markus Suckut, Iori, Skudge, and Na Nich & Vera Logdanidi, this record brings together four distinct approaches across the format, each contributing to a shared physical and sonic language, looking to shine a light on the way these conjoined vibrations permeate through the listener, carrying an impulse throughout their entire system.

On this VA, our ears are subject to torque, soundwaves expose a pole model, and every single track, contrasting in dynamic and intensity, presents a relationship bound by strong interactions.

vladimir dubyshkin has always stood sideways from the rest of the techno world whilst attaining the highest achievement for a musician: having an unmistakable signature sound.

possessing a level of instinct that can only be called supernatural, vladimir is the sort of visionary who can chop up some vocals, mix them with an insane melody that no ordinary person could ever dream to imagine, and turn it into a surreal circus that feels like the entire room has tipped over.

along with contributions on several concept albums and hot steel compilations, trip has been honoured to have released five of vladimir's solo masterpieces: ivanovo night luxe, the botox queen, pornographic novel, budni nashego kolhoza and cheerful pessimist. each one expands the strange, addictive universe only he could map out.

his new record, "jane doe's secret" is sharply futuristic, charged with quirky rave energy. "jane doe" might be a placeholder, but this collection of tracks is far from it. it's a reminder of how rare it is to witness someone create their own gravitational field.

■ The latest installment in the popular ocean themed compilation series “SALT... meets ISLAND CAFE”, curated by the beach life magazine/media SALT...,
is DEEP BLUE the series’ first ever ambient music compilation. Centered around the title concept inspired by the deep, tranquil blue of the ocean, the album
presents soothing music tailored to modern lifestyles, spanning chillout, Balearic, meditation, and healing sounds.

■ Ten artists each highly trusted by discerning listeners across the ambient, chillout, Balearic, and surf‑music scenes have created brand‑new, original ambient
tracks inspired by the theme. From pioneers active since the ’90s to cutting‑edge trackmakers, this compilation brings together a stunning collection of
ocean‑themed ambient music.

■ Mastering is handled by ambient/Balearic maestro Calm, who is also featured as one of the contributing artists, delivering an exceptional sonic experience.
Enjoy all ten tracks, each expressing its own unique interpretation of DEEP BLUE.

■ The artwork features an artistic photograph by Pedro Gomes, a Brazil born, Japan based surf photographer, with design by Masato Maekawa (tAnkers inc.),
known for his work across apparel and outdoor brands. Under the supervision of SALT..., the visuals perfectly capture the compilation’s immersive world.


[b] a2. [.que] / deeply

Brånd is one weird/post black metal act from the Upper Austrian town of Linz.

Started off in 2015 as a solo act by Vritra (also in Kringa and Weathered Crest) with the need for a form of expression free from perfection or boundaries, over the past ten years the ever-evolving project ventured into various soundscapes, from crude black metal to lo-fi ambient and from ferocious post-punk to psych downer rock, all while splitting releases with extreme underground torchbearers like Absolute Key, Calvary and Rosa Nebel.

Joined by musicians to evolve old and new ideas, Brånd debut full-length album grew from 4-track demos gathered over the last decade to become an album of richly arranged songs from all over the fields of interest, breaking from their lo-fi tradition to new horizons.

To describe thoroughly “Tåg & Nåcht” is possibly the hardest task to do, given all the influences that are skilfully intertwined and perfectly balanced. In this witches’ brew the most schooled listeners will hear some angular post-punk à la Gang Of Four sustaining pagan declamations in the vein of Fenriz folk metal excursus Isengard. Straight forward dark anarcho punk assaults are mitigated by almost new age juxtapositions. Traces of 70’s German krautrock like La Düsseldorf are melted into a heavy metal cast, while wind instrument raids that are equally James Chance and Death In June seem to drop when least expected.

The sound is crunchy and surprisingly warm, contrary to what one might expect of a band emerging from a black metal background. But right now, Brånd is so much more than this: they can master a wide range of sounds that span from 70’s space rock, passing through 80’s post-punk and UK82, reaching 90’s black metal and 2000’s blackgaze, all in one incredibly coherent album. If this sounds too good to be true, suit yourself and press Play.
Split released with Tour De Garde in US/CA.

Produced by Masters At Work (Kenny Dope and Louie Vega).

'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.

Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'

'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.

London Jazz Classics originally came out in 1993 - the first album ever to be released on Soul Jazz Records. The album brought together rare and obscure dance tracks in a unique mix of jazz dance and fusion, funk, Brazilian and Latin grooves. 

The album was ironically titled - none of the music was from London, none of the music was traditionally classified as jazz, and all of the tracks were at the time practically unknown to most people. Instead these were tracks that were filling dancefloors in a nascent jazz dance scene in London being created by a small group of DJs – Paul Murphy, Gilles Peterson, Sylvester, Patrick Forge and a few others.

As demand for these rare groove jazz tracks grew, previously unknown records such as Alive!’s ‘Skindo Le Le’, Doug Richardson’s ‘Salsa Mama’, Carlos Franzetti’s ‘Cocoa Funk’ and Emilio Santiago’s ‘Bananeira’ became sort after and even-harder-to-find items with original copies going for £100s of pounds. 
These tracks became part of the soundtrack to this jazz dance scene which has now spread across the world. This music paved the way for the arrival of many of the UK’s new wave of current artists such Shabaka Hutchings, Nubya Garcia and Ezra Collective who today offer a uniquely London sensibility of fusing jazz with wide-ranging cultural influences – everything from afrobeat to soul.

London Jazz Classics was the first album to bring this jazz dance music featured here to a wider audience. More than 30 years since its initial release Soul Jazz Records are releasing this new 2026 edition, bringing the music once more to a new generation of listeners.

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

What do we need now more than ever? Exactly, OPTIMISM. This is the place we long for, the solution we need, and also the name of DIGITALISM's new album, which will be released on May 29. German electronic pioneers DIGITALISM spread the urgent energy of OPTIMISM with their upcoming album and live performances all over Europe. A DIY spirit, in-the-moment energy and a low boredom threshold - all have been crucial to Digitalism's practice since they built their first track in a studio inside a WWII bunker in Hamburg, 20 years ago. OPTIMISM is the logical consequence of the band's steady development.

Two decades into their existence, Elder remain an anomaly in the heavy underground - a band with the ability to absorb and shed influences from a myriad of genres without falling into pastiche or losing their identity. Their new album Through Zero is a reaffirmation of their commitment to pushing boundaries and cements their status as leaders in heavy psychedelic rock. Elder has long since mastered crushing riffs, melodic jaunts, progressive patterns, hypnotic grooves and ethereal atmosphere along their path of music-making in the past twenty years. On Through Zero, Elder takes these years of experience and forms possibly their most immediate and engaging record to date, while allowing seeds from outside the sphere of rock music to take root and bloom within their progressive framework. Listeners will find familiar elements of new textures, sequences, and sounds alongside Elder"s iconic take on heavy rock. As always, every spin reveals new details. Recorded in Berlin across several months between tours in 2025, Through Zero is the first album which the band not only produced but also comixed together with longtime collaborator Richard Behrens. The album sounds more like a full extension of the band"s creative intentions than ever before.

Danish producer Kasper Bjørke returns with a new release on Tropical Animals, the “Veri/Gliss” EP a work that fully captures his signature blend of cinematic depth, refined production, and forward-thinking electronic aesthetics.

“Veri” opens the EP as a richly layered and immersive experience. Built around an evolving tapestry of textures, the track unfolds through pulsating synths, shifting sonic details, and a steady yet powerful rhythm. The result is a truly intergalactic journey, where each element seems to orbit around a constantly transforming emotional core. This is Bjørke at his most visionary-bridging club functionality with intricate sound design in a hypnotic and expansive narrative.

On remix duties, label head Ricardo Baez reinterprets “Veri” with a sharper, more direct approach. Stripping back the original’s layered atmospheres, he delivers a driving electro version that’s lean, tense, and fully focused on the dancefloor. With its tight groove and immediate impact, the remix is built for peak-time energy and club intensity.

On the flip side, “Gliss” reveals a more intimate and emotive dimension of Bjørke’s sound. A modern electronic ballad, the track blends sensual rhythms with delicate, suspended melodies. Its subtle yet captivating groove carries the listener to an unknown planet, where everything moves in sync, locked into the same pulse and flow. It’s a piece that radiates both mystery and warmth, showcasing Bjørke’s ability to craft deeply atmospheric yet rhythmically engaging compositions.

With the “Veri/Gliss” EP, Kasper Bjørke and Tropical Animals reinforce a shared artistic vision where sonic exploration meets club-ready precision, balancing introspection and dancefloor energy, cosmic textures and physical groove.

WRWTFWW Records is thrilled to announce their 5th archival release taken from cult Tokyo label FORM@ RECORDS' catalogue, this time with the first-ever vinyl edition of Re-Form Ver-1.0. The remarkable, yet not widely known, 1999 remix compilation is now available as a limited edition 45rpm cut double LP housed in a heavyweight sleeve, as well as in digital format.
Originally only available on CD in extremely limited quantities, Re-Form Ver-1.0 resurfaces as a fascinating document of FORM@ RECORDS' late-1990s creative peak. Re-imagining key pieces from the label's catalogue, the remix collection offers a rare glimpse into Tokyo's electronic underground, where techno, house, ambient, and IDM breathe freely through FORM@'s soulful and exploratory vision.
Highlights include two remixes of Missing Project's adored gem "Poisson D'Avril" (including its well known ethereal ambient Galaxy Dub which appeared on Music From Memory's Virtual Dreams II) as well as the otherworldly Fossil (aka the legend Virgo) Mix of Penance's "Cure & Soul". Throughout, the compilation balances dancefloor sensibility with introspective listening, embodying the warm human approach to machine music FORM@ RECORDS excels in.
Another essential time capsule from a crucial era of underground music, Re-Form Ver-1.0 echoes the spirit of Warp's Artificial Intelligence era, alongside the forward-thinking energy of Ken Ishii, Carl Craig, The Black Dog, and Ian O'Brien, while keeping its feet and individuality firmly rooted in local context - the magic recipe for creating a universal, timeless language of electronic expression.
Re-Form Ver-1.0 follows the vinyl edition of Virgo's Landform Code (1998) and Remnants (1999), as well as the FORM@ compilations Art Form I (1997) and Art Form 2 (1998), further expanding WRWTFWW's archival series dedicated to uncovering hidden gems of late '90s Japanese electronic music.

As the first release of Flux Code Recordings, Ferplay brings us this 4 tracks EP called “Electric Waves”.

Blending trance and breakbeat elements, acid sequences and punchy old-school drums, each track captures the energy of the 90s underground electronic music spirit.

Flux Code Recordings is a record label inspired by old-school and underground electronic music, exploring styles such as trance, breakbeat, acid and more.

It is born from the concept of music as a living language, an ever-changing code and a continuous flow of rhythms and melodies in constant evolution.

Flux Code channels the raw energy and the rave spirit of the underground electronic music culture, connecting past roots with future sonic pathways.

MUSIQUE POUR LA DANSE presents The Unreleased Themes From Hellraiser expanded ritual by Coil

Back in 1987, Clive Barker's supernatural body-horror classic Hellraiser hitted cinemas worldwide and introduced audiences to the demonic Cenobites. Barker was a devoted COIL fan (Peter Christopherson and John Balance), and he famously said they were the only band he'd ever heard on record whose music he'd had to take off because, in his words, "theymade his bowels churn.". He initially invited them to compose the film's music, and the group began recording cues. But the producers at New World Pictures ultimately rejected the material in favor of a more traditional approach, bringing in Christopher Young, whose final score remains excellent, if less experimental. What remains from Coil is an unfinished soundtrack with surviving fragments and rough ideas, abruptly left behind mid-process, a glimpse into an alternate Hellraiser movie, one we can only fantasize into existence.

Nearly 40 years later, key long-term collaborators and Coil's "secret third member" Danny Hyde located the original Hellraiser studio session tapes, and the bonus material recovered from them is presented here as an "expanded ritual" edition, reassembled into a standalone, possibly defnitive and strangely beautiful nightmare suite. Play it in the dark and experience the consequences of raising hell...

Notes by Danny Hyde
Original artwork by Trevor Brown
For fans of pain & pleasure, Throbbing Gristle, lost horror soundtracks & haunted electronics.

2026 Repress!

The story begins in 2000 in Britany (France). Two guys decide to create a sound system with the aim of sharing their common passion for roots reggae and early digital. Rootystep (selecta) and MacGyver (operator) begin to collect records and purchase music equipment. They are quickly joined by Pupajim who becomes the MC, the singer and the dub builder. The Stand High Patrol first toured the land of Brittany, gradually moving towards stepper dub production emanating from the English stage. Fifteen years later, the sound is more present than ever. Stand High has created a true identity and has established itself as one of the essential sound systems of the French dub scene. In 2009, Stand High Patrol creates his own label "Stand High Records". In 2012, after releasing several records, the Dubadub Musketeerz present their debut album "Midnight Walkers", 13 exclusives & wicked tracks inna pure Dubadub Style. In 2015 the dubadub experience takes on new dimensions with their second album : "A Matter Of Scale". In 2017 they are back with "The Shift" a third LP totally dedicated to Boom Bap & 90s Hip Hop. Words, blue notes, boom bap and bad news: here comes "The Shift", the third album of Stand High Patrol.

IN 2017, TRYING TO MAKE BOOM BAP FROM THE 90s, INSPIRED BY JAZZ FROM THE 60s, MIXED WITH MACHINES FROM THE 50s

Lyrics, Boom bap and bad news: Stand High Patrol present their third album 'The Shift' and confirm their attachment to 90s hiphop.

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

New Stand High Patrol album, featuring Joe Yorke, Nazamba, Jah Thomas - and remixes from Mad Professor, Androo & Jeanville.


Dub and House Music. Two aesthetics born in the shadows, shaped far from the mainstream music industry. Two underground cultures where independence is often a necessity and ingenuity is essential. Two scenes rooted in the margins of society, with dance, sound systems and minorities at their heart.
From the Jamaican sound system sessions of the late sixties, through the nights at Chicago's Warehouse, to the murmurings of the New York house scene in the early eighties — history shows that house, reggae and dub share far more than many people may assume. Collective action, resistance as a driving force, music moving straight from studio to turntable, shared messages: these are the threads that bind these landmark musical movements together. It is at this crossroads, driven by the spirit of experimentation that defines them, that the members of Stand High Patrol found yet another territory worth mapping.
"Skanking & Jacking", the new Musketeerz album, reveals a side of the Dubadub sound never heard on record before. Built for the dancers and for DJs, the LP brings together the pulse of house music and the vibrant groove of reggae. Uncharted territory, never interfaced like this before. The result of a meticulous blending of styles, house, reggae and dub intertwine across 12 extended tracks. The sound is carefully crafted. Built on immersive loops and interlaced with micro-variations that give it an organic texture. Born from the interaction between being and machine. This is not about simply bringing worlds closer together; it's about mobilising influences to chart a new sonic galaxy.


Beyond it's aesthetic statement, "Skanking & Jacking" also stands out for its international cast. The most extensive Stand High Patrol have ever assembled on an album. From England, Italy, Switzerland and Jamaica, the guest vocalists, producers and MCs deepen the sense of dialogue between cultures and styles. At the mic, Joe Yorke, Marina P, Nazamba and Jah Thomas join the Dubadub Musketeerz on their explorations. Each appearance subtly reshaping the contours of the project.
Never fixed, always in motion, "Skanking & Jacking" pays tribute to the traditions that shaped it and closes, as a final nod, with remixes from Jeanville, Androo and the legendary Mad Professor. The album stands as further proof of a crew that shows no signs of stopping its reinvention. Available on stream, digital and double LP on May 29th.

The crown jewel of Finnish Death Metal, reissued in a band-approved new 30th anniversary edition. Features a new vinyl master from the original source by Noise for Fiction, plus a booklet with a lengthy feature by Hippo Taatila and some visual memorabilia. As an added vinyl bonus there's a large poster by the original cover artist Rob Smits creating a new vision of the album cover for the new millennium. Together with bands like Demilich, Abhorrence, Disgrace, Xysma and Sentenced, Demigod from the wastelands of Loimaa, southern Finland, put Finland on the map in the global death metal scene in the late 80's and early 90's. Having risen to underground fame with their demo Unholy Domain, Slumber of Sullen Eyes was a hugely expected debut album. When it was finally released in 1992 after a complicated creation process at Tico-Tico Studios in northern Finland, it was received with open arms and drooling excitement by the then very active underground death metal scene. That scene was, however, short lived,and by 1994 pretty much every band had switched from death metal to something else entirely. What was left after the bands had left the building was a number of classic albums that constitute the legacy of Finnish Death Metal. Among them, Slumber of Sullen Eyes is one of the most original and ferocious. There was nobody like Demigod.

The crown jewel of Finnish Death Metal, reissued in a band-approved new 30th anniversary edition. Features a new vinyl master from the original source by Noise for Fiction, plus a booklet with a lengthy feature by Hippo Taatila and some visual memorabilia. As an added vinyl bonus there's a large poster by the original cover artist Rob Smits creating a new vision of the album cover for the new millennium. Together with bands like Demilich, Abhorrence, Disgrace, Xysma and Sentenced, Demigod from the wastelands of Loimaa, southern Finland, put Finland on the map in the global death metal scene in the late 80's and early 90's. Having risen to underground fame with their demo Unholy Domain, Slumber of Sullen Eyes was a hugely expected debut album. When it was finally released in 1992 after a complicated creation process at Tico-Tico Studios in northern Finland, it was received with open arms and drooling excitement by the then very active underground death metal scene. That scene was, however, short lived,and by 1994 pretty much every band had switched from death metal to something else entirely. What was left after the bands had left the building was a number of classic albums that constitute the legacy of Finnish Death Metal. Among them, Slumber of Sullen Eyes is one of the most original and ferocious. There was nobody like Demigod.

Blue Hour is the most recent release from Friday Night Plans, recently signed by Modern Obscure Music. The project marks FNP's shift from their 'pop' roots towards a more experimental and ambient sound. Friday Night Plans is pioneered by singer/songwriter Masumi who has collaborated on this project with acclaimed Japanese producer Ena. Together, they have created a collection of songs that represents the quiet introspection and emotions of the AM hours, using improvisation during the production process to create a cyclical record that is described as 'dreamlike'. Masumi attributes the project to a journey consisting of fragments of memory through each song; a reflection of how nostalgia and recollection connects us to emotions.

Eliza Rose joins the ‘FABRICLIVE. presents’ series with a release that reflects the breadth of her creative journey in club music culture. A DJ, vocalist and songwriter from London’s vibrant underground, she has become one of the UK’s most compelling voices, equally at home in the DJ booth, on record, and crafting music that resonates across dancefloors and charts alike.

To accompany the release, fabric presents commissioned a bespoke, hand made tapestry depicting Eliza Rose and her friends at Carnival, a celebration of community, heritage and collective joy that runs through her story and the culture she represents. Rich in texture and detail, the piece transforms a living moment into something timeless and craft led. Eliza is pictured alongside the tapestry in an iconic hot pink tracksuit, set within a council estate garden that feels instantly recognisable as a portrait of London life. Surrounded by nostalgic children’s toys, from a rocking unicorn to a plastic slide, the scene captures the everyday intimacy and character of the city’s estates, spaces where music, family and friendship intertwine.

The contrast between the ornate woven artwork and the raw familiarity of the setting creates a striking visual metaphor, bridging past and present, celebration and reality. Together, the imagery reflects the spirit of the release itself: rooted in community, shaped by lived experience and grounded in the environments that continue to inform Eliza’s creative world.

Maybe it was inevitable that Vilhelm Bromander and Fredrik Rasten would find each other. A symbiotic musical alliance of suggestive combinatory magic that stretches back to the interstitial two day space that separates their dates of birth and manifests here as the movement between ‘perfect’ or ‘just’ intonation and the ragged, psychoactive energy of the slippages from and towards that togetherness that render otherwise simple patterns or generally understood repetitions as wildly other and alive.

Astral Twins shares ‘twin’ works by each composer. The patiently unfolding real time retuning of Fredrik Rasten’s guitars on the a-side’s Sojourns and Vilhelm Bromander’s quickened steps and spry looping melodies on the flip’s Partially Dancing.

Both artists have history of going deep into the aesthetic and acoustic impact of intonation (how you think about what is ‘in tune’). Where their first LP (...for some reason that escapes us, 2019, Differ Records) shared a gorgeous set of sustained tone colour fields, this time they lean more explicitly into the folk music traditions of Scandinavia and further afield, whilst echoing the zoned minimalist atmosphere of Arthur Russell’s classic Instrumentals.

Recorded up close and in real time at Fylkingen’s soon-to-be-abandoned temporary location in Stockholm’s southern suburb of Bredäng, Astral Twins sings with the possibility that one plus one can equal more than two.

Fredrik Rasten:
 Sojourns explores the live retuning of guitar and double bass in a sequence of just intonation harmonies. A guitar ostinato runs throughout the piece where the retuning becomes an integral part of the composition. The slow pace reveals every detail in the transition from one harmonic arpeggio to another — how interfering waves emerge and disappear as the tonal interactions settle in electric clarity. The double bass shadows the guitar's process and comments with occasional pizzicato tones and register jumps, at times providing a low foundation for the sound and sometimes soaring together with the guitar. This is music that is deeply listening; experimental and at the same time humbly inviting many kinds of being with sound.

Vilhelm Bromander: 
As the title suggests, this song has a partially dancing character. The title also has a double meaning with reference to the partials and harmonics that dance together. The basic idea was to write music in just intonation that instead of being drone-based is reminiscent of a lightly dancing folk music, where the joyous feeling of just being in the music — “musicking" — is allowed to lead the way.

The double bass plays repeated overtone double stops in an open harmonic progression with subtle modulations that is inspired in equal parts by Steve Lacy's persistent repetition of phrases as east-asian khaen music. The guitars and mandolin have a freer role, with plucked retuned strings that enhance the bass's modulations and provide forward movement. The music invites to both melodic and spectral listening, suddenly halting so that other focal points can reveal themselves. For example, a chord sequence suddenly transitions to a more spectral part where Fredrik is playing a bowed guitar with a chain, several plucking guitars, voices, and pitch pipes. I wanted to make something ‘orchestral’ with just two people and no overdubs: a dance of overtones and open resonant strings, where we seamlessly take turns standing in the foreground.

"I got to know visual artist, musician, and producer Guido Erfen and sound engineer, acoustic artist, and percussionist Michael Springer as part of a group of five by the name of SHM1. The members of the group organised concerts at Rhenania, a disused grain silo, where I performed with The Absurd in 1988 and 1989. The band was also featured on one of Erfen's tape releases. Erfen and Springer met when they were still at the same secondary school and soon became close friends and musical allies. With the other members of SHM they built an independent network for creating and distributing music beyond the mainstream in Cologne. Rent at Rhenania was incredibly low, allowing a recording studio to be established there.

The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.

In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.

On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!

It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

2023 Repress


Voices From the Lake (consisting of Donato Dozzy and Neel) mark the 10th anniversary of their influential self-titled album with a fully remastered reissue on Spazio Disponibile. It arrives in full on vinyl for the first time, as well as on digital formats, first quarter of 2023 as the pair continues to play select live shows around the world. The release will see the light of day as a 4-set vinyl LP release, including download. Italians Dozzy and Neel have been friends united by a shared vision of music since their teenage years. They are immaculate sculptors of sound who fuse evocative ambient and leftfield techno into multi-layered soundscapes. For many years they worked as established solo artists but came together in 2011 to craft what is now regarded as one of techno's most pure and absorbing listening experiences. It's often said that the best music comes about as a happy accident, and that is certainly true of Voices From the Lake. The career-defining album first arose in the thoughts of Dozzy and Neel when the latter was preparing a mix for the former's wedding and named it Voices From The Lake. It was a pertinent title that stuck in the mind: both grew up by waters around the coast of Italy, and in their early days the pair even held private parties on the shores of a lake. Fittingly, Japan's celebrated Labyrinth festival at that time was also held by a river and a lake in the middle of a forest on a serene mountainside. It was that exact setting the pair envisaged when making music to play live on stage. During preparations, they "accidentally" wrote an entire album. It has only ever been performed live a few times - once at Japan's Labyrinth festival in 2011, at London's Barbican, Barcelona's Mira Festival, Paris' Marathon Festival and once during 2022's Amsterdam Dance Event. Those shows saw the pair using banks of analogue and digital equipment to improvise in the moment and essentially remix the album live on stage. That spontaneity is captured in the original Voices From the Lake recordings and on later LPs such as Live at Maxxi in 2015, and the most recent EP Quarto Freddo from 2020. But the debut album remains a standout achievement. A decade on, it's quiet intensity, musical storytelling and slowly unfolding tension remain in a class of one. Each sound is meticulously designed and placed, and the spaces left behind are just as important in conveying such a captivating mood and emotion. Rather than traditional kick drums, hi-hats or snares, this is music crafted from layers of real-world sound - dripping water, chirping birds, rustling leaves or a distant breeze - and it's that which defines the album's organic allure. From deeply contemplative to cautiously optimistic, pastoral organic scenes to more underwater worlds, Voices From the Lake is a cohesive collection of tracks that add up to one inseparable whole.

Jolene Cuts delivers a stunning 5-track vinyl-only release that reinvents the spirit of 90s French Touch for today’s dancefloors. No edits here—these are 100% original productions crafted by Danny & Mike, masters of filtered house grooves. From the funk-drenched “Without,” a Kool & The Gang-inspired house monster, to “Fall,” a euphoric blast reminiscent of the best Daft Punk moments, every cut is designed for maximum floor impact. “Mon ami Julien” dives deeper with a warm and hypnotic Scott Grooves vibe, while “Ready for Love” feels like Cerrone remixed by early Bob Sinclar at his peak—pure disco magic reimagined. The record closes with “Burning,” a banging, feel-good anthem built to ignite any set. This is a true celebration of filtered house, disco energy, and feel-good music—strictly vinyl, strictly limited, and packed with five undeniable club weapons. Perfect for DJs who want to tear the club apart, vinyl purists, and anyone who knows that real French Touch doesn’t need gimmicks—just groove, soul, and timeless dancefloor power. Once it’s gone, it’s gone.

As ever, the Belfast duo come out swinging !
Tailor-made for raucous dancefloors, a 4-way of extensions and amendments from their private stash !

Following her debut album, I’ll Look for You in Others (Past Inside the Present), earlier this year, Patricia Wolf joins Spain’s Balmat label with See-Through, her second album. See Through finds the Portland, Oregon musician and field recordist continuing to develop her signature style of ambient, balancing radiant soundscaping with a carefully expressive sensibility. But the new album is also marked by an important difference. Where I’ll Look for You in Others was largely written in response to the death of a loved one, See-Through represents a kind of rebirth.

“After a long period of grief, I had been hoping to find my way to a place of lightness, peace, playfulness, curiosity, and sensuality again,” Wolf says. “What I was surprised and pleased to find is that for the most part, I had.”

She wrote and recorded many of the album’s songs quickly, in preparation for an August 2021 broadcast on the online radio platform 9128 Live. Excited for the opportunity to play live after more than a year of the pandemic, Wolf decided to write all new material for the event, working with a lean setup of Octatrack, Roland Synth Plus 10, Make Noise 0-Coast, and Novation Summit. (In fact, Wolf was the first sound designer invited to create patches for the Summit.) She also picked up an acoustic guitar that her brother had loaned her. “I decided to take the surrealist approach of ‘pure psychic automatism’ to see what poured out of me,” she recalls. “Woodland Encounter,” “Under a Glass Bell,” “The Grotto,” “The Mechanical Age,” “The Flaneur,” and “Psychic Sweeping” are all products of those sessions; the through line holding them together is their exploratory spirit and clarity
of vision.

Other songs, like “A Conversation With My Innocence,” “Recalibration,” and “Psychic Sweeping,” wrestle with the traumas of the preceding year. Though they may linger on the heaviness of loss, Wolf says, “What I discovered is that a stronger archetype had grown inside me to steer my emotions and thoughts to a better place.” Likewise, “Wistfulness” and “Upward Swimming Fish”—her first experiments with VST synthesizers—balance the bittersweet embrace of melancholy with the freedom to choose happiness.

“Pacific Coast Highway,” the album’s lone song with drums, might at first seem like an outlier. But it also signals Wolf’s interest in finding a fusion between the introspection of ambient and the togetherness of beat-oriented music. “Experiencing loss and isolation is what drove me into gentler territories of sound,” she says, “but I want to start making more beat-oriented music. After an extended period of loss and isolation, I’m ready to experience more joyous and social things.”

Listeners with keen ears might recognize the album’s closing song, “Springtime in Croatia”: A different mix of the song originally appeared on the 2021 digital compilation secondnature & friends Vol. II, from the Seattle label secondnature. This marks its first appearance on vinyl, however, and its spiritual home is undoubtedly here, at the close of See-Through. As the bookending answer to the opening “Woodland Encounter”—another song in which field recordings play a crucial role—it closes the circle of an album that is itself keyed to the steadily turning cycles of life.

Tony Bontana, the Birmingham rapper, producer and multi-instrumentalist, releases his 35th album My Name, which is also his first to receive a proper vinyl pressing. The album follows an impressive 2025 in which he performed with Nourished By Time, Mark William Lewis, YHWH Nailgun, TAGABOW and 454.

His earlier 2025 album The Beautiful Malaise made The Wire’s annual top 50, and he appeared as the sole feature on Nourished By Time’s album The Passionate Ones, where Marcus praised his “freewheeling spirit.”

Tony’s production work has appeared on records by Billy Woods, Cities Aviv and Novelist, with upcoming collaborations planned with Blackhaine and DJ Python. The single Battered Chips has received airplay from NTS, Esk on Rinse and Huw Stephens on 6 Music.

If anyone is counting this is the 35th album by Birmingham rapper, producer, multi-instrumentalist Tony Bontana. A pioneer of his own ‘Splayed’ style of production characterised by heavily manipulated samples, non-linear rhythms and introspective lyricism. My Name is a significant landmark for Tony being the first album to receive a proper vinyl pressing. It caps an impressive 2025 which has seen Tony play live with acts such as Nourished By Time, Mark William Lewis, YHWH Nailgun, TAGABOW and 454. His previous album “The Beautiful Malaise” (one of four he released in 2025) made The Wire’s annual top 50. He appeared as the sole feature on the acclaimed Nourished By Time album The Passionate Ones on the track Jojo with NBT’s Marcus praising the rapper as having the “freewheeling spirit of a street baller out on the playground” . His productions have already appeared on records by Billy Woods, Cities Aviv and Novelist with further collabs to come with the likes of Blackhaine and DJ Python. The standout single Battered Chips has received airplay from NTS, Esk on Rinse, New Music Fix and Huw Stephens on 6.

About Alec Pace’s “Respiro 22:16”
Breath as rhythm. Breath as memory. Respiro 22:16, the debut album by Alec Pace, is a world suspended between intimacy and impact — where personal confessions are carried by low-end frequencies and fragile melodies are shaped into physical space.
Written, produced and mixed between London and Turin, this record reveals Alec Pace not only as a producer but as a storyteller through sound. Layer by layer, his voice, guitars, piano, synthesizers, drum machines, samplers, and field recordings converge to form a sonic diary — one that whispers, cracks, shimmers and erupts.
The album moves fluidly between dream pop, modern UK bass, breaks, jungle, and club music, yet its essence lies in emotion: love, memory, anticipation, release. Each track is a breath, an exhale, a fragment of something lived.
“The30th” opens with nostalgic warmth, darkness and breaks; “For You (Hello)” captures the tender rush of a love song over a drum & bass heartbeat; “Venus Winds” floats in a balance of techno pulse and harmonic light. “Angular Invariance” reshapes the floor beneath your feet, while “Respiro” pauses to listen inward — piano and air, fragile and close. “Anticipation” closes it all with a forward surge: emotional, propulsive, unresolved.
Respiro 22:16 is not just a collection of tracks, but a portrait of an artist learning to breathe out loud.

Alec Pace said:
“This album is about putting myself out there — letting every sound, chord and rhythm breathe,” says Pace. “Respiro is both a personal archive and a release.”

“Respiro 22:16” is available across all platforms on Friday 6th March 2026.

The fifth release from Diggers Society Records is signed by one of the most influential duos in the underground electronic scene of the past 20 years: The Analogue Cops. Lucretio and Marieu deliver a finely crafted, dancefloor-oriented EP, strongly defined by the techno, electro, acid, and house sounds that have become their unmistakable signature. The A-side opens with two full-on techno dancefloor bangers, ‘Fake Black Out’ and ‘Do What You Want’, while the B-side leans more towards house, driven by the hypnotic progression of ‘Milano Gipsy’ and the intense bassline of ‘Chinese Coffee’. The duo’s creativity and brilliance shine through in raw, unconventional solutions that surface in every moment of the EP.
Artwork by @designattitude_graphic

The fifth release from Diggers Society Records is signed by one of the most influential duos in the underground electronic scene of the past 20 years: The Analogue Cops. Lucretio and Marieu deliver a finely crafted, dancefloor-oriented EP, strongly defined by the techno, electro, acid, and house sounds that have become their unmistakable signature. The A-side opens with two full-on techno dancefloor bangers, ‘Fake Black Out’ and ‘Do What You Want’, while the B-side leans more towards house, driven by the hypnotic progression of ‘Milano Gipsy’ and the intense bassline of ‘Chinese Coffee’. The duo’s creativity and brilliance shine through in raw, unconventional solutions that surface in every moment of the EP.

This special edition also includes a 10" limited to 100 hand-numbered copies, featuring two exclusive productions: “Burning Jack” and “Yes Or Not”.

Artwork by @designattitude_graphic

From deep within the astral planes of all that is cosmic in the Northwest and through a fog of kaleidoscopic haze emerges the latest mind-expanding music makers to arrive on Sprechen in the form of the Todmorden based Lines Of Silence.
Living amongst a hotbed of UFO activity and home to the UK's highest ever beach they combine experimental analogue and digital electronics, motorik beats, polyrhythmic improvisation and drone rock guitar explosions to create an immersive, expansive and contemporary take on psychedelia.

Their long player on Sprechen: 'Lines In Opposition !' takes the listener on a visionary aural journey across 8 tracks of electronic, shamanic soundscapes where the sounds of Krautrock exist in harmony alongside drone-esque ambient excursions through an array of synths, guitars & sequenced patterns that draw heavily on the stylings of NEU!, Aphex Twin, Kraftwerk and the musical pickings of the more esoteric sets and radio shows by Andrew Weatherall.

A truly universal listening experience to take you into a higher state of electronic music consciousness...

The 8th edition in the revered Semi Skimmed series...

Another surefire trio of deep digs - lovingly restored, extended and adored nuggets from the deepest crates



SUPER limited hand-stamped vinyl...

Our very first release was a beautiful gem from Red Astaire titled 'Follow Me' - a track that defined GAMM's identity and helped pave the way for everything we've achieved since.
Now, 24 years later, GAMM has reached its landmark 200th release.

To celebrate this anniversary and honoor our dear friend Fredrik Lager (aka Red Astaire), who sadly and unexpectedly passed away three years ago, we are re-releasing 'Follow Me' alongside remixes from some of our favourite producers.

The third and final edition in the 'Follow Me' series comes from Brooklyn's finest, DJ Spinna.
With his trademark hip hop-soul sound, Spinna transforms this classic into a bumpy, park jam tune. Very NY, very uplifting...very much a spring tune. Oh btw, check that classic EWF sample ;)

A defining transmission in the history of Skylax Records. Originally released across different moments of the Skylax catalogue, these recordings are now assembled as the final chapter of the Skylax House Explosion series — a project exploring the architecture, memory and survival mechanisms embedded within house music culture. The record opens with Move D’s “Outer Rim 64”, originally released in 2018 as part of the Skylax House Explosion narrative. Suspended between motion and distance, the track establishes the conceptual perimeter of this final chapter — a space where rhythm no longer functions only as propulsion, but as orientation. Here the listener stands at the outer edge of the dancefloor’s architecture, where structure persists even as its original social conditions begin to disappear. The sequence continues with Hardrock Striker’s “Motorik Life (DJ Sprinkles Dub)”, originally released in 2011. Rather than operating as a conventional remix, the Dub reinforces the motorik continuum of the original composition, transforming repetition into endurance. DJ Sprinkles preserves the infrastructural skeleton of the dancefloor — its capacity to sustain bodies through duration alone, without narrative resolution or emotional release. The record culminates with “Motorik Life (DJ Sprinkles Mountain Of Despair Remix)”, one of the most politically explicit works ever associated with Skylax Records. Through the relentless repetition of the phrase “mountain of despair,” Terre Thaemlitz dismantles the traditional function of dance music, transforming remix culture into structural critique. Referencing Martin Luther King Jr.’s famous metaphor, the remix removes the promise of redemption and leaves only the architecture of struggle. The dancefloor is no longer presented as escape, but as a temporary condition of survival. Together these recordings reveal house music’s true function: not to resolve despair, but to create temporary conditions in which bodies can continue to exist despite it.

STRICTLY LIMITED TO 100 COPIES ARTIST PROJECT After discovering techno at La Concrète, invited by my girlfriend, it was a revelation, and I very quickly felt the urge to contribute in my own way. My intention has been to create tracks infused with positive energy (even if the creative process sometimes leads into slightly darker corners of music). Still, I realized—rather late—the importance of the musical genre known as “techno.” Here is my reflection on it: Nothing is closer to village music (with everything that implies among indigenous peoples, for example—important and respected moments of communion) than techno. On one side, you have basic organic instruments and the voice; on the other, the most advanced technology available. But fundamentally, the difference is only superficial—the essence is the same: a guide, and people who participate intuitively, ultimately finding or discovering their own inner paths… individuation. Techno represents the re-emergence of a kind of initiation rite that had been missing in the West for quite some time—a sort of continuation of Woodstock, more spread out over time but just as powerful from a societal perspective. This release is my contribution to that revival, in the same way a villager might feel free to join trance music with a simple stick that sounds right, or a drum—something intuitive that all our ancestors must have practiced naturally at one point or another. In short, nothing pretentious—just something made with heart

Hit the North is a DJs’ movement
Not a label. Not a revival. A discipline.

Over the years, the collective travelled across multiple states in the US and parts of the UK, digging deep into private collections, basements, garages, storage rooms and forgotten boxes.

They weren’t looking for classics.
They weren’t looking for hits.
They were looking for attempts.

Artists chasing something bigger than themselves.
Trying to sound like Motown.
Trying to sound like Detroit.
Trying to sound like the records that saved them.

Many of them dreamed — at best — of becoming a one hit wonder.
Most never got that far.

Some never crossed a state line.
Some never crossed the street at the end of their block.
Some never played outside their hometown.
Some never played at all.

What they left behind were fragments.

Raw versions.
Unfinished recordings.
Alternate takes.
Rejected mixes.
Test pressings.
Acetates passed quietly from hand to hand.

Sometimes with real credits.
Sometimes with fake ones.
Sometimes with handwritten labels leading nowhere.
Titles that didn’t match the music.
Stories that changed every time you asked.

Often, the trail simply disappeared.

What remained was intention.

Energy.
Urgency.
Hope pressed into sound.

So the collective worked on it.

They edited certain parts.
Extended others.
Cut what didn’t serve the floor.

Not to modernise.
Not to rewrite history.
But to unlock the power that was already there.

The result sounds like Northern Soul pushed to its breaking point.
Fast. Physical. Emotional.
Built for movement.

Some circulated privately.
Others were never pressed at all.

Recorded in personal studios, borrowed studios, friends’ rooms, temporary spaces.
Always outside the system.

This is not nostalgia.
This is unfinished business.