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AARON FRAZER - IT'S A SHAME / THE FOOL
  • 1: It's A Shame
  • 2: The Fool

Colemine ist stolz darauf, die neueste 45er von Aaron Frazer zu präsentieren. Diese hier ist etwas ganz Besonderes. Zwei Tracks mit der Rhythmusgruppe der legendären Cold Diamond & Mink, dem Rückgrat des finnischen Soul-Labels Timmion. Die A-Seite ist ein neuer Track: ,It's A Shame". Und es ist vielleicht wirklich schade, dass dieser Titel es nicht auf die "Into The Blue" LP geschafft hat, denn er ist ein echter Knaller. Meisterhaft von Aaron und Produzent Alex Goose zusammengestellt und arrangiert, besticht der Track durch knackige Drums, Aarons charakteristisches, seidiges Falsett und wunderschöne Streicharrangements. Du wirst den Refrain noch tagelang vor dich hin summen. Die B-Seite ist der Album-Closer auf ,Into The Blue" - und das aus gutem Grund. Es fühlt sich wirklich wie ein süßer und gefühlvoller Abgesang am Ende eines Films an. Ein Klagelied über die Höhen und Tiefen der Liebe, das Gefühl, angesichts des Scheiterns dumm dazustehen, aber trotzdem weiterzumachen. Es fühlt sich an wie ein verlorenes Sample, das von Aaron und Goose gekonnt ins Hier und Jetzt geholt wurde. Für Fans von Durand Jones & The Indications, Pale Jay, Jason Ngonda, Thee Sacred Souls, Neil Frances, Khruangbin.

Сделать предзаказ12.06.2026

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DILES QUE NO ME MATEN - ESCRITO EN AGUA
  • 1: Las Noches Que Dormimos En Sillas
  • 2: Hiriku
  • 3: Derivar
  • 4: La Rata Modesta
  • 5: Perquisor
  • 64: Km Dentro De Un Tnel
  • 7: Viene El Viento
  • 8: Jardn
  • 9: No Me
  • 10: Tunuwame

Diles Que No Me Maten sind eine fünfköpfige Band aus Mexiko-Stadt, deren vom Krautrock beeinflusster Art-Rock sich zu etwas wirklich Einzigartigem entwickelt hat - drahtig, poetisch und voller Improvisationslust. Ihr viertes Album ,Escrito en Agua" (Geschrieben im Wasser), ist ihr bisher fokussiertestes und zugänglichstes Werk, aufgenommen in einem provisorischen Studio in Santa María La Ribera mit Produzent Sebastián Rojas. Aufgebaut um zurückhaltendes Schlagzeugspiel, bewusste Pausen und die spirituelle Schwere der Begräbnismusik aus Oaxaca, bewegt sich das Album mit einer gemächlichen Selbstsicherheit, die sich hart erkämpft anfühlt. Thematisch ist ,Escrito en Agua" ein Album über Präsenz, Umherirren und Widerstandskraft - Songs, die mit Mehrdeutigkeit leben, anstatt sie aufzulösen. Die Lead-Single ,Hiriku" gibt den Ton an und verbindet frenetischen Krautrock mit Zeilen aus José Vicente Anayas visionärem Gedicht ,Híkuri", während der herausragende Track ,No me" ein Mantra der Selbstsicherheit in etwas weitaus emotional Komplexeres verwandelt. Gewidmet sowohl dem indigenen Morgenstern Tunuwame als auch dem palästinensischen Dichter Mahmoud Darwish, endet das Album so, wie es beginnt: still und transzendent, mit achtsamer Aufmerksamkeit für die kleinsten Details dessen, was es bedeutet, lebendig zu sein.

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Kalia Vandever - Mana LP

Mana is the International Anthem debut by trombonist and composer Kalia Vandever. The collection carries the spirit of their first solo album, We Fell In Turn, while entering a new landscape of spacious songwriting. Mana, which in Hawaiian means "foundational, supernatural, or divine power and strength", reveals more of their voice and words, drawing from yearning, loss, and bewilderment. Vandever"s music has quickly and widely gained traction in the last few years despite the fact that their style has been consistently difficult to pin down, boasting a compositional scope ranging from the palatial modern jazz of their quartet work to the synthetic, gauze-like droning ambience of their solo material. Mana leans into the expansion of the latter: solo trombone filtered through a well-dialed pedalboard, manipulated live; spare piano à la the late-career work of Ryuichi Sakamoto; electroacoustic interplay simultaneously echoing and transforming the long-note melodicism of Vandever"s melancholic brass work; head-on, unambiguous, and deeply personal lyricism - a particularly fresh move for the composer... Appropriate for the early riser"s first step into the day or the night owl"s weary and quiet walk home.

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SAHHAR - MIGJA TA' MOHH MIGNUN

Ltd. silver vinyl. Migja ta Mohh Mignun ("Journey of a Mad Mind") is a concept prose, chronicling the descent and transformation of a man consumed by insatiable thirst for forbidden knowledge. Abandoning wealth and comfort, he pursues ancient secrets hidden in scrolls, caves, and lost maps, ultimately crossing the boundary between life and death. Along the way, he defies the Inquisition, boasts of powers older than God, and embraces the role of a sorcerer and a possible Antichrist. His journey is filled with occult rites, supernatural encounters, resurrection, and even visions of an underworld queen who grants him unmatched wisdom. In the end, his quest leaves him both cursed and exalted; a figure suspended between madness, immortality, and damnation. This concept is based on a Maltese legend formally penned by Agostino Levanzin, which in turn is rooted in actual events from the 16th century. The music is written to accompany the story and is paced in an average medium-paced but intense wall of sound, along with Sa??ar's particularly unique vocals, all in the exotic and arcane Maltese tongue.

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SAHHAR - MIGJA TA' MOHH MIGNUN
  • 1: L-Ghatxan
  • 2: Gherf Minsi
  • 3: It-Tarf Tal-Kozmu U Ta' Ruhi
  • 4: Fil-Palazz Sejjahtilhom
  • 5: Il-Migja Sa Sqallija
  • 6: Ftakar Fija!
  • 7: L-Antikrist Il-Gdid
  • 8: Id-Dinja Taht Pajji
  • 9: L-Imlejka
также имеющийся в продаже

SILVER VINYL


Migja ta Mohh Mignun ("Journey of a Mad Mind") is a concept prose, chronicling the descent and transformation of a man consumed by insatiable thirst for forbidden knowledge. Abandoning wealth and comfort, he pursues ancient secrets hidden in scrolls, caves, and lost maps, ultimately crossing the boundary between life and death. Along the way, he defies the Inquisition, boasts of powers older than God, and embraces the role of a sorcerer and a possible Antichrist. His journey is filled with occult rites, supernatural encounters, resurrection, and even visions of an underworld queen who grants him unmatched wisdom. In the end, his quest leaves him both cursed and exalted; a figure suspended between madness, immortality, and damnation. This concept is based on a Maltese legend formally penned by Agostino Levanzin, which in turn is rooted in actual events from the 16th century. The music is written to accompany the story and is paced in an average medium-paced but intense wall of sound, along with Sa??ar's particularly unique vocals, all in the exotic and arcane Maltese tongue.

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Dogstar - All In Now LP

Dogstar

All In Now LP

12inch0810183320631
Dillon Street Records
12.06.2026

Los Angeles rock trio Dogstar is back with All In Now, the band’s fourth studio album and the follow-up to 2023’s Somewhere Between the Power Lines and Palm Trees. Produced by Nick Launay (IDLES, Amyl and the Sniffers, Nick Cave & the Bad Seeds), All In Now marks a new era for Dogstar, with layered guitar riffs and heavy bass inspired by their time out on the road. Includes black LP in a gatefold jacket with a printed insert.

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Various - King Street Sounds Sampler Vol. 6

King Street Sounds Sampler Vol. 6 continues the long-running series from the legendary King Street Sounds catalogue, bringing together a selection of classic house cuts from some of the label’s most respected artists.

Featuring productions from Dennis Ferrer, Mood II Swing, Studio Apartment and Blaze & Palmer Brown, the release highlights the soulful, vocal-led house sound that has defined King Street across decades of dancefloor culture.

Including standout King Street favourites such as Dennis Ferrer’s Touched The Sky and Mood II Swing’s Closer, the sampler brings together several proven catalogue moments in one DJ-friendly vinyl package.

With warm grooves, powerful vocals and timeless club arrangements, these proven King Street records offer strong crossover appeal for both long-time house collectors and DJs looking for reliable dancefloor material.

As the sixth edition in the King Street sampler series, this release presents a selection of essential catalogue moments on one highly playable vinyl release.

A strong catalogue addition for stores serving soulful and deep house buyers.

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OTTO BENSON - SONGS BEFORE BED

RICE TBC

Songs Before Bed (2022) marks Otto Benson’s first physical release under his own name, following earlier
work under aliases including Memo Boy, OTTO, and Pudding Club.

Originally published as a digital-only release through Otto's own WNOADIARWB website and platforms on
New Year's Eve 2022, Songs Before Bed bridges the gap between the more experimental psychedelic
electronic works of OTTO and his most recent release, the acclaimed Peanut, released on NYE 2025.
Blending brief pop fragments with melodic bedroom guitar, droning ambient shoegaze textures, and blissful
IDM jaunts reminiscent of the Rephlex catalog, the album offers a seamless overview of Otto Benson's
genre-defying sound. Originally conceived as a late-night record, Songs Before Bed (2022) rewards
listening at any hour.

Remastered for vinyl by Stephan Mathieu and pressed on Sonopress EcoRecord, an environmentally
conscious alternative to PVC, special care was taken by Palto Flats and Otto Benson to make a sustainable
product without sacrificing sound quality.

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Kassie Krut - Kassie Krut

Kassie Krut is comprised of Kasra Kurt and Eve Alpert — former members of Philadelphia math rock institution Palm — alongside Matt Anderegg (Mothers, Body Meat). On their self-titled debut EP, the newly minted Brooklyn three-piece have retained the fangled snarl of their prior work, outlining sugary melodies with visceral flourishes. Front to back, 'Kassie Krut' smudges starkness & filth, settling into a commanding partnership fit for muddy raves, basement punk spaces, and festival stages alike.

After years of twisting rock instrumentation into unknown shapes, the first release by Kassie Krut represents a transformative refocusing of energies. These tracks evince the kind of wisdom that only comes from experience—and the kind of experience that can only be scored by new sounds, still glittering with the metal filings of their making

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Hannah Diamond - Reflections Upscaled Vinyl (2x12")
  • A1: Reflections
  • A2: Invisible
  • A3: Love Goes On
  • A4: Never Again
  • A5: True
  • B1: Concrete Angel
  • B2: The Ending
  • B3: Shy
  • B4: Fade Away
  • B5: Make Believe
  • C1: Invisible (Dylan Brady Remix)
  • C2: Love Goes On Feat. Bladee (Palmistry Remix)
  • C3: True (Umru Remix)
  • C4: Fade Away (Mechatok Remix)
  • C5: Make Believe (Yung Sherman Remix)
  • D1: Invisible Instrumental
  • D2: Love Goes On Instrumental
  • D3: Concrete Angel Instrumental
  • D4: Fade Away Instrumental
  • D5: Make Believe Instrumental

Hannah Diamond’s debut album Reflections expanded to include Reflections Remixes and selected Reflections Instrumentals across two LPs. This upscaled edition is pressed on Milky Way Clear Glitter vinyl, in a gatefold sleeve featuring the Remixes Star artwork, and premium board inner sleeves, enhanced with metallic lavender HD monograms. It also includes a high-gloss poster insert of the original Moon artwork and lyric sheet. No secret track.

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Yoni Mayraz - Dybbuk Tse! LP

Fast-rising pianist and producer Yoni Mayraz presents his debut LP ‘Dybbuk Tse!’ revealing the story of a malicious possession that is taking over one’s body and soul.

Dybbuk, known from Jewish folklore, is a malevolent wandering spirit that enters and possesses the body of a living person. It’s a cursed soul of a dead one that wanders tirelessly for sins committed during their life. The most vulnerable victims are the young and the sinful. Possession can be taken literally or as an analogy to the burden that young people carry generations back, which they have no influence on, and which they have to accept. Dybbuk can only be removed by exorcism. The titular ‘Dybbuk Tse!’ is a command to remove the spirit from the possessed body. The album is a story about possession but also about exorcism through music.

Recorded live with his band over the course of a spring week last year, ‘Dybbuk Tse!’ is indeed experimenting with the ‘darker side of things’, but yet with a somewhat lighthearted approach which is so typical of Yoni’s work. He easily combines jazz with the sound of 90’s New York hip hop and raw old school breakbeat. The album interweaves unique Middle Eastern melodies, sophisticated structures and sounds, and beautifully crafted solos played by some of the promising talents on the scene.

London based Israeli born pianist and producer Yoni Mayraz has set foot in the instrumental music scene with his EP ‘Rough Cuts’ released in 2020. Since then, Yoni and his band have been playing major venues and festivals around the world including the legendary Ronnie Scott’s and The Jazz Cafe, to name a few, bringing raw energy to stage with live versions of the studio materials, and stretching the melodies and structures into a Dancefloor-focused take on jazz.

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Doug Gomez - Signals 3

NYC's Afro-Latin house player Doug Gomez, who was also half of the defunct Drrtyhaz, leans into club weight and musical detail on Signals 3, a confident new drop built on persuasive rhythms. 'The Space Between Us' introduces his vocal production with Fe Malefiz, who has a sultry, stylised tone that drifts between deep house and Afro-soul with great control. 'The Red Room' shifts gears into peak-time territory with a groove shaped by late-night exchanges with DJ Loka. Closing cut 'To Do Good Na Em Dem Pay' widens the palette further, pulling from Afrobeat's restless rhythmic energy and layering in some bold and brassy horns.

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Down To The Bone - This Way Forward (2x12")
  • A1: Get Up And Dance - Featuring Hil St Soul
  • A2: Sending You Love (Parts 1 And 2) - Featuring Natasha Watts
  • B1: The Special Branch
  • B2: Feel So Good - Featuring Natasha Watts
  • B3: Shining - Featuring Natasha Watts
  • C1: Hermosa Bump
  • C2: Bird Of Paradise - Featuring Guida De Palma
  • D1: Ella’s Groove - Featuring Natasha Watts
  • D2: You See Me - Featuring Guida De Palma
  • D3: Umph!

After a gap of over ten years, the Grammy nominated Jazz Funk band Down To The Bone are back with their groove laden, Acid Jazz tinged new album “This Way Forward”– here on an ultra-limited, special release of a doublepack vinyl album. Bringing together a good groove fueled album of ten original tracks with a diversity of flavours – from Jazz Funk to Soul to Brazilian tinged delights that are sure to get the musical juices flowing. Packed full of the band’s trademark grooves and bringing together multi talented musicians from the past and the present all culminating into a melting-pot of sounds that together represent Down To The Bone’s essential sounds.

The new album also brings together multi-talented vocalists on no less than seven tracks From the exquisite soul talents of Hil Street Soul, who co-wrote the opening soul infused groove track “Get Up And Dance”, to the equally soulful tones of Natasha Watts and then the Brazillian sounds of Guida De Palma. The pulsing horn section of Tim Smart, Ryan Jacob (Bonobo/Alice Russell) and James Arben (Vibration Black Finger/Mulatu Astatke), together with Piers Green on sax solos, along with the driving bass of both Julian Crampton and Jo Phillpotts to the pumping beats of drummer Davide Giovannini (Snowboy/Jazztronic/Da Lata and Pucho/Lisa Stansfield), to the melodic chords of Neil Angilley (Snowboy/Jazzhino/Maceo Parker) and Anders Olinder (PeeWee Ellis/Courtney Pine), to the chugging guitar of Tony Remy( Dave Lee/The Sunburst Band/Incognito/Omar) and Mark Jaimes (Simply Red) plus Gianni Chiarello – and the icing on the cake with percussion from Joe “Bongo” Becket.

All working together to bring a stellar performance on this cracking new release to show that DTTB are a force to be reckoned with both on stage and on the wheels of steel.

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DJ Laxxiste A - Promo Use Only (LP)

Active for more than a decade within the Geneva scene, DJ Laxxiste A. has established himself as one of the key figures of the local club culture. A DJ digger, musician, producer and experimenter, he moves between rave culture, dub and adventurous electronic music. As one half of Oram Modular, a project that left a mark on Geneva's house and techno landscape, and through several live projects, he has long navigated between soundsystem culture, the dancefloor and free party. This new release, composed of five original tracks and two remixes, offers a synthesis of Laxxiste's musical obsessions. Jungle, acid, breakbeat and dub collide in a dense, textured universe shaped by a distinctly dub-driven mix. The tracks were first tested in a hardware live set, where machines, FX and samples were pushed and reshaped in real time before being refined into finished pieces. The result is an organic and sometimes raw sound, combining lo-fi textures, twisted samples and deep basslines designed for adventurous dancefloors.
The record also features two collaborations. Lateena, a key voice of the Swiss dancehall scene, appears on one track, bringing a distinctive vocal presence. Another piece unfolds through a double transformation, with a remix by Bony Fly later extended into a dub version by dubmaster Androo.

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TAFKAMP / Dylan Fogarty - Paling Trax 6

Paling Trax returns with their 6th Split EP coming from labelhead TAFKAMP and the Irish multi-talent Dylan Fogarty. On the A-side we find the long anticipated release of TAFKAMP’s Friestalig, combined with some filterhouse galore on Trakpad #4! On the B-side Dylan delivers the big room banger ADE Special, and the super groover Morning Ritual to finish off the release. Highly essential!

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Byard Lancaster, Keno Speller - Exactement LP 2x12"

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa. Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note... ends up by playing exactement the note he had to play.

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Crespi Drum Syndicate - Colada Talk LP

A mutant beat manifesto from Miami luminaries Jonathan Trujillo (Jonny from Space) and Pablo Arrangoiz (El Gusano, DJ Fitness, Baüzer Vep), Crespi Drum Syndicate’s Colada Talk follows the duo’s debut on Sonido Isla with a freshly freaked collection of percussive oddities. Rooted in foundational clave rhythms and avant-garde experimentation, Crespi Drum Syndicate emerges from the amphibious underbelly of Miami’s Latin-infused club scene with their singular electro-acoustic vision.

Extensive live recording sessions, free improvisation, and a ritualistic studio practice

— countless hours spent twisting and rearranging sounds from found objects and Buchla modular systems — coalesce into new rhythmic forms. Atonal saxophone, bass clarinet, and slide whistle further expand upon Trujillo and Arrangoiz’s ever-evolving sonic palette, while NYC’s AceMo lends a hand on the heavily syncopated “Siu,” and closer “Boubow” might be the duo’s most hook-driven production to date with its mangled pop vocal and lewd drum-line bounce.

Landing somewhere between Steve Reich’s polyrhythmic “Six Marimbas,” Moebius & Plank’s industrial Krautrock sessions, and Ricardo Villalobos’ hypnotic techno minimalism, Colada Talk delivers on a world of subtropical rhythmic futurism and experimental body music that’s as heady as it is culo-shaking.

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CRUSH OF SOULS - CAPTIVE YOUTH LP

Precisely one year after Lézire, Crush of Souls is back with his third full-length album.

The musical endeavour of Charles Rowell – active in the indie/punk global scene since 2008 with bands like Crocodiles, Flowers of Evil, Issue – is just like its creator: always cooking up something. Relentlessly.

Now, as it was perceivable by the trajectory undertaken by after his previous LP, Captive Youth leaves goth rock and dark folk aside and head swiftly towards some old school 80’s EBM & 90’s Industrial dance vibe. After all, any album exploring themes of dystopia, politics and sexuality requires a strong rhythm. So how could this new chapter not mention seminal synth-pop and body music classics such as Technique by New Order, Belief by Nitzer Ebb, Towards Thee Infinite Beat by Psychic TV and Pressure Points by Anne Clark?

Forever a displaced soul, Charles’ album number three feels like a revision of Crush Of Souls and also a reanimation of his captive youth spent moving from town to town. The energy of the wandering worker poet. Warehouse basslines, artillery fire backbeats. Romance and melancholy wrapped in barbed wire. All this and more oozes from nine new tracks that inevitably deliver that blurry sexy urban vibe that’s become the project’s trademark.
Features collabo hit single Domination with Sade Sanchez from L.A. Witch.

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Brendon Moeller - 侍栽培一

Brendon Moeller

侍栽培一

12inchSAIBAI1
Saibai
19.06.2026

2026 Repress

Samurai Music heralds a new seam of spacious, rhythmically curious exploration with the launch of the Saibai sub label, opened in mesmerising fashion by Brendon Moeller.

The overarching premise of Saibai is to nurture a more delicate, meditative inversion of Samurai's physical, dense sound, leaning less on the dynamics of the dancefloor while holding true to the intricate drum play and dubby principles that bind the label's sound together.

In this open-eared, inquisitive environment, Moeller is the perfect fit as an artist with decades of diverse offerings across all kinds of dubwise manifestations. On SAIBAI1, the US-based, South Africa-born producer stretches out with a live-sounding drum palette and exquisitely rendered synth work loaded with detail, character and organic flourishes. It's a light-footed approach with plenty of air flowing through the mix, but there's considerable weight in every notch of the production, not least the imposing channels of sub bass coursing beneath the frequency range.

SAIBAI1 is a feast for the senses, wholly immediate and front-loaded with fascination, setting the perfect tone for Saibai as a platform for charming, immersive electronics that take a fresh diversion from the fundamental core of Samurai's sharply defined sonic focus.

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Последний логин: 5 мес. назад
Ezekiel Honig - Surfaces Of A Broken Marching Band

Originally released in 2008 on Ezekiel Honig’s own Anticipate Recordings, Surfaces of a Broken Marching Band finds the artist refining a compositional language rooted in the methodologies of musique concrete, ambient, and beat research. Working from a palette of environmental recordings, instrumental fragments, and soft electronic treatments, Honig pushes the source material into an array of sympathetic forms ranging from pillow-soft, lowercase ambient to diffuse downtempo and minimal house. For its reissue on Keplar, the album has been remastered by Kassian Troyer (D&M), bringing a new clarity to its intricate, low-lit architectures.

Throughout the record, serving almost as audiographic guideposts, are faint but insistent gestures toward propulsion, an abiding and recurrent 4/4 pulse that guides the music laterally and instantiates a slow negotiation between its various elements. This music invites close listening precisely by not revealing itself all at once, allowing small collisions of timbre and subtle shifts in emphasis to carry the weight. The traces of lived environments that remain embedded in the mix - distant crowds, sounds of transit, the indistinct acoustics of interiors in flux - expand the frame without breaking its intimacy, creating a potent dislocation between the nearness of the sound and the scale of its sources.

Rather than foregrounding any single voice, this is music that distributes attention equally across its materials, allowing background details to assert their presence as much as melody or rhythm. Honig presents listeners with an astute practice that’s concerned less with building from the ground up than with uncovering what happens when disparate textures and structures are brought into close contact with one another. (Alex Cobb, 2026)

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Monolake - Interstate (2x12")

Monolake

Interstate (2x12")

2x12inchFIELD039
Field
19.06.2026
 
5

Continuing its faithful documentation of the early years of Monolake, Field Records proudly present the first-ever vinyl pressing of seminal 1999 album Interstate. In a kaleidoscopic lattice of micro-rhythms and exquisitely dynamic textural work, Robert Henke and Gerhard Behles fully collaborated for the final time on this record — and created an electronica landmark in the process.

Monolake's evolution from their earlier dub-techno-tinted works saw their exploration of Max/MSP go further out. The duo yielded greater complexity in the behaviour of their sound palette to achieve an organismic quality that remains an enduring influence on so many strands of experimental electronic music today. Interstate is a vivid record that builds up eight different ecosystems of sound and subtly threads elegant grooves through their root structures.

There's a house-like undulation to the low-end driving 'Tangent-I' and 'Tangent-II', but the infinitesimally detailed layers of sound on top swoon from techno synth shimmers to trickling waters, snaking delay trails and pin prick percussion. You can hear the unmistakable, snappy rhythmic thrust of drum & bass driving 'Ginza', but here it's used as an engine for the crispest array of designer percussion and dub-soaked synth chirrups. Across every track, Henke and Behles demonstrate a potent combination, both groovily instinctive and eternally fascinating to try and pick apart.

After Interstate, Behles departed to focus entirely on the development of Ableton Live and Henke steered Monolake towards a leaner — but no less pioneering — sound. Every Monolake record has its own unique context and sound, and the circumstances of Interstate could never be repeated. Capturing the leaps in progress that were being made in digital music production at the end of the millennium, it's an information-rich document of a moment in time that still sounds wildly futuristic 27 years later.

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Brian Auger's Oblivion Express - A Better Land LP
  • A1: Dawn Of Another Day
  • A2: Marai's Wedding
  • A3: Trouble
  • A4: Women Of The Seasons
  • B1: Fill Your Head With Laughter
  • B2: On Thinking It Over
  • B3: Tomorrow City
  • B4: All The Time There Is
  • B5: A Better Land

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

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Channel One Pres. - 100 Tons Of Dub LP

The mighty Channel One Studios,Kingston, Jamaica, has its place set in Reggae's Musical History.Its distinctive sound the studio created on opening its doors in 1972 to its closure in the early 1980's made it the Producers, Singers and Musicians studio of choice during this furtive period. Achieving that vibe and clarity, separated it from the other Kingston establishments.

Run by the Hookim Family's four sons, Jo Jo the eldest followed by Paulie, Ernest and Kenneth. Their father originally came from China and married a Chinese Jamaican lady and settled in the St Andrews district before moving to Kingston Town itself. The family business was built on jukeboxes and one armed bandit machines in and around Kingston. A lucrative venture until the gaming laws changed in 1970, outlawing the gaming machines. So the music side of the business would have to be expanded. So it was decided to open a studio to make the music to supply their already established Jukebox enterprise. The four brothers opened Channel One Recording Studios in 1972 at 29 Maxfield Avenue, Kingston 13. Initially as we stated the purpose of the studio was for the brothers use only, but this would soon change when the various Producers all looking for that Channel One sound came asking for studio time.

The brothers had used the services of Bill Garnet a renowned and well respected technical engineer on setting up the studio. They spent a lot of time laying out the space to get the right acoustics and picking the right quipment. They went with a four track API desk and the best quality microphones such as Neuman, Sony and AKG, vital in obtaining the quality sound and track separation that would prove so worthwhile after the music was recorded to give the best flexibility on the final mix downs. Jo Jo would take over the production duties after the initial hiring of Syd Bucknor a producer who had worked closely with Coxonne Dodds Studio 1 stable. The first release on the Channel One label would be 'Don't Give Up The Fight' by Stranger Cole and Gladstone 'Gladdy' Anderson.The initial two thousand run being swallowed up by their Jukebox interests and so the steady flow of hits would run up to the brake through hit of 1975 'Right Time' by  the Mighty Diamonds.

1977 saw Jo Jo extending his stays in New York to a semipermanent status, returning mainly to oversee recording sessions and then taking the results back to America for worldwide distribution. His brother Paulies senseless killing in that year also added to Jo Jo's decision to spend more time with his Hit Bound Manufacturing set up in New York. The Channel One studio would be upgraded in 1979 to sixteen tracks and although Jo Jo and Ernest still covered the mixing and engineering duties Kenneth would now supervise sessions. An often untold part of Channel Ones history is the involvement of Producer Niney The Observer. The mid to late 1970's were heavy times both musically and politically and Maxfield Avenue was in the heart of this crossfire. Some artists and musicians were weary of using the establishment especially when sessions ended late at night and exiting the studio at these times could be somewhat dangerous. But Niney’s fearlessness seen him over running and in many cases running the all night sessions with his trusted set of musicians loosely called The Soul Syndicate. Having the run of the mighty Channel One studio's allowed Niney to build up and work on a stockpile of rhythms that he still has yet to unleash on the world. We have been lucky to select a bunch of material from Niney's vaults for this release. Some great unreleased rhythms and some different cuts to some tracks you might already know. Niney's work with Dennis Brown and his own distinctive heavy roots style productions have been documented and indeed his work on Channel Ones Yellowman releases stand tall also. We hope this fine set of Niney Productions set inside the hollowed walls of Channel One will sit beside them as they so richly deserve.

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Последний логин: 5 г. назад
THE SHAGGS - PHILOSOPHY OF THE WORLD
  • 1: Philosophy Of The World
  • 2: That Little Sports Car
  • 3: Who Are Parents?
  • 4: My Pal Foot Foot
  • 5: My Companion
  • 6: I'm So Happy When You're Near
  • 7: Things I Wonder
  • 8: Sweet Thing
  • 9: It's Halloween
  • 10: Why Do I Feel?
  • 11: What Should I Do?
  • 12: We Have A Savior

* Begleittext vom legendären Musiker, Autor und Compiler Lenny Kaye (Patti Smith, Nuggets) * Das Booklet enthält bisher unveröffentlichte Fotos und Raritäten * Das Cover wurde restauriert und auf ein Gatefold-Cover erweitert * Neu remastert * Platz 5 auf Kurt Cobains Liste der 50 Lieblingsalben 1968 schnappten sich drei Schwestern aus Fremont, New Hampshire, ihre Instrumente und nannten sich ,The Shaggs". In diesem Moment begann eine eigentümliche Geschichte, die weit über die fünfjährige Existenz der Gruppe hinausreichen sollte. Dot, Betty und Helen (und gelegentlich Rachel, die vierte Schwester) spielten in der Gruppe auf Drängen ihres Vaters, Austin Wiggin Jr., der überzeugt war, dass sie groß rauskommen würden. Jahre zuvor hatte Austins Mutter ihm aus der Hand gelesen und vorausgesagt, dass ihr Sohn eine strohblonde Frau heiraten würde, dass er nach dem Tod seiner Mutter zwei Söhne bekommen würde und dass seine Töchter eine beliebte Musikgruppe gründen würden. Die ersten beiden Vorhersagen traten ein, also war Austin sicher, dass auch die dritte eintreffen würde. Mit unerschütterlichem Selbstvertrauen und der kühnen Vorhersage seiner Mutter beschloss Austin, dass seine Töchter auf den Besuch der örtlichen Highschool verzichten und stattdessen zu Hause unterrichtet werden sollten, unterbrochen von einem strengen Programm aus Instrumental- und Gesangsübungen sowie Jumping Jacks und Sit-ups. Bald darauf betraten The Shaggs die Fleetwood Recording Studios in Revere, Massachusetts, um ihr einziges Album ,Philosophy Of The World" aufzunehmen, eine Sammlung von Garage-Rock-Songs, die Charme und Dissonanz gleichermaßen in Einklang brachten. Austin gab den Großteil seiner Ersparnisse nicht nur für die Aufnahmen aus, sondern auch für die Produktionskosten, um 1.000 Exemplare des Albums zu pressen (von denen 900 nach Fertigstellung auf mysteriöse Weise verschwanden). Im gesamten Album werden einfache Wahrheiten durch die Feder von Schwester Dot, der Songwriterin der Band, offenbart. Die Reichen wollen das, was die Armen haben, genauso wie die Armen das wollen, was die Reichen haben. Deine Eltern lieben dich. In der Nähe liegt Glück und in der Ferne Traurigkeit. Das Album erfüllte Austins Erwartungen an den Rockstar-Ruhm nicht, doch die Gruppe blieb bis zum Tod ihres Vaters zusammen und trat regelmäßig im Rathaus von Fremont und in einem örtlichen Pflegeheim auf; weitere Alben wurden jedoch nicht veröffentlicht. Das hätte das Ende sein können, bis die Rockband NRBQ eine Kopie bei einem Radiosender in Massachusetts entdeckte und sie 1980 neu veröffentlichte. Der damalige Rezensent des Rolling Stone beschrieb es als ,die atemberaubend schrecklichste wunderbare Platte, die ich seit Ewigkeiten gehört habe". Fast 50 Jahre später zählt das Album zu den polarisierendsten LPs aller Zeiten. Manche sagten, es sei das Schlimmste, was je produziert wurde. Andere empfanden es als eines der großartigsten Langspielalben des 20. Jahrhunderts. Frank Zappa bezeichnete die Band bekanntlich als ,besser als die Beatles", während Kurt Cobain das Album auf Platz 5 seiner Liste der 50 Lieblingsalben setzte. Originalausgaben des Albums erzielen Preise von 10.000 Dollar. Jahrzehnte später könnte man argumentieren, dass Austin vielleicht die ganze Zeit recht hatte. Wir sind alle hier und immer noch fasziniert von der Reinheit der Shaggs.

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Byard Lancaster - Funny Funky Rib Crib

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again.

On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul.

If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib

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Warning - Rituals of Shame
  • 1: Rituals Of Shame
  • 2: Stations
  • 3: Night Comes Down
  • 4: Landing Lights
  • 5: Teacher
также имеющийся в продаже

Coke Bottle Green with Splatter Vinyl


As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

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Warning - Rituals of Shame

As WARNING prepares to release Rituals of Shame - their first new music in twenty years,vocalist/guitarist Patrick Walker is self-effacing about what led to this moment. Over the last two decades he continued to write and release music, satisfied that he had achieved what he set out to do with WARNING. In those intervening years, interest in WARNING swelled, organically gathering an ardent fanbase. In particular, the 2006 album, Watching from a Distance, has gained a cult following. In response to a transformative period in his life, Walker turned towards writing new songs, and it soon became apparent that these belonged to WARNING. In early January 2025, he started with a completely blank canvas, and piece by piece, he started to fill it with ideas that evolved to become the songs that make up Rituals of Shame.

His immersion in the project became a full-time pursuit. After successfully demoing the five songs, Walker retreated to a remote house on a hill outside Florence, Italy, to refine the lyrics. Recording took place at The Arch Studio, a 140-year-old former church in Southport, UK. Chris Fullard (Idles, Sunn O))), Ulver) handled the recording and mixing. Walker's lifelong musical inspirations can be traced through Rituals of Shame. The ambitious structural arrangements harken to Marillion’s complex but soaring episodic songs. They retain a sparsity that is reminiscent of June Tabor’s economic arrangements; thick with melody but with a diaphanous air to them. Citing John Brenner of Revelation as an enduring inspiration, Patrick credits him with introducing the idea of how to infuse heavy music with significant emotional depth. Often reluctant to discuss the minutiae of his lyrics, Walker does acknowledge that making this album was a direct response to the immediate concerns of his current life period. Rituals of Shame also echoes the enduring themes and fixations that have marked most of his work: guilt, shame, personal failure, obsession, longing, and separation, but, most of all, he says, love. Short: WARNING return with Rituals of Shame - the pioneering Doom band's first new music in 20 years! FFO: My Dying Bride, Candlemass, YOB, Black Sabbath, 40 Watt Sun, Pallbearer, Pagan Altar

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Knocked Loose - A Different Shade of Blue

Knocked Loose

A Different Shade of Blue

12inchPNE24715
Pure Noise Records
19.06.2026
  • 1: Belleville
  • 2: Trapped In The Grasp Of A Memory
  • 3: A Serpent's Touch
  • 4: By The Grave
  • 5: In The Walls
  • 6: Guided By The Moon
  • 7: Mistakes Like Fractures
  • 8: Forget Your Name
  • 9: Road 23
  • 10: And Still I Wander South
  • 11: Denied By Fate
  • 12: Misguided Son

Knocked Loose have announced their hotly anticipated new album, A Different Shade of Blue -- a mammoth of a sophomore release and massive step forward for the band and for hardcore and metal as we know it. Recorded by producer Will Putney, the new LP was approached slower and more methodically. Abandoning the previous 'live in studio' recording approach for something more deliberate, the band cranked out twelve new tracks that deal with all manner of anger, especially loss in lieu of absence. While some musical influences are easily identified - Pantera, Hatebreed, Obituary and more - the band's palette and canvas has expanded by leaps and bounds, incorporating Gothenburg-style death metal (At the Gates, early In Flames), slam metal (Devourment, Dying Fetus), blood-thirsty thrash (Sodom, Kreator), black metal (Craft) and the mind-boggling complexity of latter noisy hardcore like Snapcase and Bloodlet. Clocking in at a lean and mean 37 minutes and featuring guest vocals from Emma Boster of Dying Wish and Keith Buckley of Every Time I Die, A Different Shade of Blue grabs the listener by the throat from the jump and slowly tightening that grip for the duration.

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Cal Tjader - The Prophet

Cal Tjader

The Prophet

12inch5701514
Verve Reissues
19.06.2026

Anfang der 1960er Jahre, als der Vibrafonist Cal Tjader von Fantasy Records zu Verve Records wechselte, befand er sich in einer seiner produktivsten Phasen. Zwischen 1961 und 1968 nahm er unter der
Regie der Produzenten Creed Taylor und Esmond Edwards fünfzehn Alben für Verve auf, auf denen er sich
künstlerisch freier entfalten konnte denn je zuvor. Auf “The Prophet”, seinem letzten Album für Verve,
schöpft der Vibrafonist aus einer breiten Palette von Jazz-, Latin- und Blues-Einflüssen. Das Programm
besteht je zur Hälfte aus eigenen Kompositionen und Stücken des brasilianischen Keyboarders João Donato,
die von Don Sebesky orchestral arrangiert wurden. Das von Donato geschriebene Stück “Aquarius” wurde
1993 von der Hip-Hop-Band A Tribe Called Quest für das Album “Midnight Marauders” gesampelt.

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DARIO ROSSI - 07SEP83 EP

Dario Rossi approaches electronic music like few others. His work as a percussionist has brought his unique rhythmic abilities to audiences around the globe. Born in Italy, Rossi combined percussion with samplers and synthesizers. His energy and talent have allowed these machines to be incorporated into his distinctive palette with very special results. 07Sep83 is his Bordello debut, with the title piece opening the four tracker. Beats cascade as analogue warmth laps the shore. Slow with a magnetic groove, elements of italo, wave and synth-pop intertwine to create a clean, bright sound that is at once familiar and totally unique.

Vocals arrive with “We’ll Meet Again.” Tempos rise while keys are emboldened by rich guitar strings. Lyrics counter with a melancholic tone that shifts into hope and fortified belief as melodies rise ever higher. The flip is “Lost.” Sharp drum patterns support notes that hark back to the majesty of Bobby O, the live sax by Augusto Pallocca and disco glory combining in this journey through genres. “Beat the Devil” closes. Sizzling from the outset, snares roll and snap. Rossi’s percussive prowess is on full display as synthlines flow over rhythmic ripples to the subtle and soulful strings that bring down the curtain.

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MASTERING BLACK - X

MASTERING BLACK

X

12inchMB003
Mastering Black
19.06.2026

Īlker Soylu returns with third instalment of his Mastering Black alias, marking a decade of Zwart Goud with a special edition LP titled X - an introspective yet adventurous document that blurs the lines between genres, time, and place.

X is a carefully crafted passage through contrast and cohesion. From dusk-lit highways to underwater reveries, this third chapter from Mastering Black unfolds as both continuation and evolution - a cinematic odyssey of sound sculpted inward and outward for introverts and extroverts, for you and me - for us.

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Tom Peters - CAN U

Tom Peters

CAN U

12inchIS011
...is serving
22.05.2026

Berlin-based artist and label head Tom Peters returns to his techno-focused imprint ...isserving with IS011 - CAN U, a refined four-track vinyl-only release that channels groove,hypnosis, and physical intensity in equal measure.
The EP opens with "CAN U", a deep yet propulsive cut built around metallic percussion,textured synths, and a haunting vocal hook. Its stripped precision and subtle emotionalcharge reflect Peters' evolving sound-somewhere between warehouse minimalism andlate-night transcendence.
Ketch, from the SYXT collective, reimagines the title track with raw drive and rhythmicprecision. His remix sharpens the low-end punch while unfolding layers of atmospherictension that feel both industrial and intimate.
On the flip, "Control Conscious" dives deeper into Tom's hypnotic palette-dark, groove-heavy, and cinematic in its design.
Steffi's remix closes the EP with her signature blend of deep techno and Detroit-infusedswing: warm chords, tight percussion, and a dynamic arrangement that nods to bothemotion and functionality.
Pressed on 140g black vinyl in a limited run of 300 copies, CAN U EP encapsulates thecore spirit of ...is serving-techno with groove, depth, and emotional intelligence.

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Chez DAMIER / NICO LAHS / CAMILLE - Make Up The Edits 5

Big heart US deep house figurehead Chez Damier has opened his studio up to new school collaborators once again, with Italy's Nico Lahs and Adeen chief Camille getting back to work on a new series of tunes inspired by jazz-fusion and the sounds broadcast on legendary radio station WJZZ. 'Dragon Breath' opens with tense rhythmic interplay and expressive horns and vibraphones, while 'Tunita' offers shimmering rhythms. 'Third World Wave' is a busy broken beat with weighty kicks and brilliantly loose percussion all run through with off-kilter horns. The 12" expands the palette, from the lighter touch of 'Haiku' to the driving force of 'Bullet Train'. Another majestic collaboration.

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Estray & Federsen - Dubalearic EP

Alt Dub label head Federsen links with Belgrade’s Estray for a deep, percussive exploration of dub house—where analogue weight meets globally-rooted rhythm and hypnotic late-night energy.

A key figure within Eastern Europe’s electronic landscape, Estray has spent over a decade shaping a sound that travels far beyond his home base. With releases on Rebellion, Neptune Discs, Sol Selectas, Akumandra and Buddha Bar, alongside an extensive international DJ presence, his output reflects a balance of cultural depth and dancefloor functionality.

His productions draw on a wide palette of influences, fusing African and Latin rhythmic structures with rolling, dub-informed low-end. Intricate drum programming and fluid groove design sit at the core, while his basslines—heavy, warm and propulsive—remain a defining signature. Federsen, known for releases on Echospace Detroit, Grayscale, Synchrophone, Lempuyang and Avant Roots, continues to refine a sound rooted in analogue process, spatial detail and textural precision. His work leans into restraint, allowing depth and subtle modulation to drive momentum.

Recorded at Devon Analogue Studios, the pair’s collaboration unfolds across four tracks built on dense sub frequencies, shifting percussion and evolving atmospheres. Each piece is carefully structured yet organic, moving between stripped-back dub frameworks and more rhythmically charged passages.

The result is a cohesive body of work that sits comfortably within the dub house tradition while introducing a broader, multicultural rhythmic language—equally suited to immersive listening and deep dancefloor moments.

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GUY J - PIECE OF CAKE

GUY J

PIECE OF CAKE

12inchEARLY011
EARLY MORNING
20.05.2026

The eleventh release from label Early Morning, run by Guy J, presents a three-track EP totaling 22 minutes and 23 seconds, reinforcing his position as one of the most disciplined and forward-thinking figures on the global scene. Despite intercontinental recognition, Guy J continues to approach his work with restraint and focus, treating sound not as a finished achievement but as an ongoing exploration. His imagination remains a constant source of carefully developed ideas that resonate through a restrained yet expressive intensity.

The opening track, Piece of Cake, sets the tone with confident momentum, unfolding through a precisely balanced structure where hypnotic rhythm meets expansive spatial design. Selector expands the palette with a fierce bassline drive, textured atmospheres, random squeaks, and euphoric build-up, building on the opening piece and taking the vibe into psychedelic territory.

The release concludes with Against the Wall, a composed and decisive finale. Strong rhythmic foundations, paired with suggestive female narrative vocal samples, bring the record to a resolved and coherent close.

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ZC-KORE005 - Second Sign EP

An exception to the rule, Zodiak Commune Records returns to Acid Kore after a few years.

ZC-KORE005 - Second Sign EP
Jaquarius Procell Triphaz Palindone

Fifth entry in the Acid Kore series.

Old school attitude meets new school pressure across four uncompromising acid tracks, built for the floor.

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Mazi - From Chicago With Love Reprise

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
Copyright Control
2025 Fresh Meat Records

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Various - Winter Collection

Various

Winter Collection

12inchFMR154
Fresh Meat Records
24.06.2026

Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The vinyl sounds like it means business.

The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster serves the synth work well, keeping the melodic lines clear and the low end present without overcrowding the mix. Zentz built something durable here, and the vinyl pressing confirms it.

Sound Whore by DJ Mes follows, and Mes doesn’t waste any time. The wah-wah guitar arrives early, the trumpet not far behind, and then the Latin percussion and vocal samples start stacking up. It’s a lot, but Mes holds it together with a groove that keeps pulling everything back toward center. You don’t resist it. You just follow.

The B-side belongs to the most requested track in the label’s catalog, and it’s easy to understand why. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and then opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a particular gift for this, the ability to make a moment feel like it could last forever without ever losing tension. Ramirez’s own keyboard solo survives toward the end, a subtle crescendo that feels earned. Dunster captures the whole thing with care.

It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Nothing complicated about it, and that’s the point.

Play it loud.

Track A1 written and produced by Maziar Namvar and Joshua Collins. Remixed by Bryan Zentz.
Track A2 written and produced by Jason Sutton.
Track B1 written and produced by Cesar Ramirez. Remixed by Mike Huckaby.
Track B2 written and produced by Gabriel Palomo & Geto Mark.
Mastered by Lawrie Dunster at Curve Pusher, UK.
Copyright Control
2026 Fresh Meat Records

Shorter Version

Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster keeps the melodic lines clear and the low end present. Zentz built something durable here, and the vinyl confirms it. Sound Whore by DJ Mes follows. The wah-wah guitar arrives early, the trumpet not far behind, then Latin percussion and vocal samples start stacking up. Mes holds it together with a groove that keeps pulling everything back toward center. You just follow. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a gift for making a moment feel like it could last forever without losing tension. Ramirez’s keyboard solo survives toward the end, a subtle crescendo that feels earned. It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Play it loud.

Сделать предзаказ24.06.2026

он должен быть опубликован на 24.06.2026

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Vinyl