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The second Suture Records release from Spanish label boss Punto is a banger! Pressed in 200 copies and limited. Four killer acid techno tracks that are truly impressive! Suture Records is part of the Flatlife Records Label Group.

Candido Cameron was a Cuban percussion maestro who had played with luminaries such as Dizzy Gillespie, Buddy Rich and Count Basie throughout his illustrious musical career which started in 1952. Fast forward to 1979 and Candido finds himself caught up in the Disco boom that had engulfed his adopted New York City. Feeling he could add his trademark quick-fire Conga and Bongo playing to Disco's straight 4 x 4 syncopated rhythm he cut some records with legendary NYC label Salsoul. The fruits of this partnership were 2 full length LP's and a handful of 12" singles that changed the face of underground Disco."Jingo" is an all-time classic dance record, sampled, edited, re-configured and coveted by too many names to mention! It's a killer funky Disco version of master Nigerian drummer Olatunji's 1969 percussion suite of the same name, Salsoul style, while over on the flip we have one of the deepest Disco records of all time; "Thousand Finger Man" a testament to Candido's percussion prowess and a spacey, beautiful voyage that has left more than an indelible mark on modern House music, often being cited as a huge influence by artists such as Masters At Work and more. Essential stuff basically, every collection should have a copy!

This 12" has got to be one of the toughest Salsoul records to find. Changing hands for up to £300 a time for a used copy. Now it has been re-mastered, re-pressed and made available again with all original label artwork intact with the permission of Salsoul Records, New York City.

Limited repress!

What is it about New York City, that concrete jungle that continually inspires the creative spirit? From Warhol’s Factory to Larry Levan’s Paradise Garage to David Mancuso’s Loft, collectives that celebrate and nurture unfettered, organic artistry have been absolutely intrinsic to the story of this sprawling metropolis. Its latest chapter is being written at the hands of ‘The Maestro’, Grammy Award winner Louie Vega and his Expansions NYC parties, the sound documented in his latest album Expansions In The NYC (Nervous Records).

Starting in February 2019 in Manhattan and Brooklyn venues, Vega’s Expansions NYC parties have their origin not in his revered prowess as a DJ but rather his whole-hearted appreciation of the different elements of the dance floor surrounding him: the dancers, the musicians who bring their instruments to join him ad-hoc on the night, the small, dedicated crowd of clubbers whose ears to the ground keep them informed on the underground party information. The events included 6-hour DJ Sets with Louie under his select curation, and would usually end with 3 AM jam sessions involving keyboardists, guitar players and poets all performing in front of a jam packed crowd. In just a few short years the Expansions NYC events have evolved into an NYC-clubland institution, an intimate celebration of house, funk, disco, afro, R&B and more.

As with his parties, so goes his album. The collective vibe that forms the beating heart of Expansions NYC parties is absolutely front and centre in Expansions In The NYC, Vega drawing in one of the most comprehensive lists of collaborators in recent memory. House heavyweights Honey Dijon, Joe Claussell, Moodymann, Kerri Chandler and Anané rub up against legendary vocalists Bernard Fowler, Cindy Mizelle, Lisa Fischer, Audrey Wheeler and Tony Momrelle. Gospel royalty BeBe Winans and Debbie Winans, pop icon Robyn and rising star Karen Harding sit alongside disco-era champions Unlimited Touch, Cuban jazz pianist Axel Tosca, Nico Vega, Two Soul Fusion with Josh Milan and Vega and underground legend DJ Spinna. At the centre of it all, fingerprint on every beat, touch on every groove, sits a master at work, weaving the individual threads into a rich dance music tapestry.

"In the past few years I’ve found new inspiration both from the musicians I’m working with and the audiences coming to see me at my DJ shows,” Vega says. “So for me this album represents new beginnings, bringing together a beautiful mosaic of artistic perspectives to express musically what we call Expansions In The NYC."

At its heart, Expansions In The NYC is a love letter to New York, as much as melting pot as the city it represents, the scope of its line-up possible only because of the influence and reverence of Vega the artist, the DJ, the producer, the curator. In creating this album, Louie Vega has once again utterly enriched the lives and libraries of music lovers the world over, far beyond the hustling streets of NYC that have so indelibly left their mark on his work.

Bristol-based producer Zobol lands on Brooklyn imprint Melodize with Killing Culture – a bold, four-track statement that fuses electro, breaks, and electronica into something raw, physical, and emotionally charged. Known as one half of the label Distorted Sensory Perception – a platform showcasing honest, forward-thinking electronic music – and as curator of the UK underground event series d3pth_p3rc3pti0n, Zobol brings a fiercely independent, hands-on ethos to his productions.
Built entirely on hardware – including the Korg MS20, Roland JX-3P, Prophet Rev2, Acidlab Drumatix, Behringer TD-3, Elektron Octatrack, Soundcraft Signature MTK12 console, and finished in Ableton Live – the EP captures a live-wire energy that feels both urgent and immersive.

The EP opens with “Uprising”, a track that sets a hopeful tone with flickers of brightness woven through its punchy rhythms – like the first sparks of something much bigger. Extrawelt reshapes the track with warm bass and swirling atmospheres, lending a more introspective, drifting character. Known for their decade-spanning contribution to electronic music – from their iconic debut on Border Community to defining live performances worldwide – the German duo once again deliver with a remix steeped in depth and analog soul.

The B-side turns heavier. “Weapon of Mass Distraction” unfolds from a looping synth fragment, slowly ramping into a tense, bass-driven groove that hits like controlled bursts of energy – Relentless, exacting & distractingly armoured with acidity. Closing track “Oppression” dives deeper into emotional terrain: the weight of distorted low-end channels the presence of authoritarian force, while fragile melodic elements flicker like voices struggling to be heard – eventually weakening, fading, and falling into silence.

“As shattered cultures bleed beneath a technocratic sky, the silenced cries of Palestine, Sudan, Yemen and other forgotten lands echo a world where humanity’s dawn is cruelly denied; a stark testament to faltering global systems, demanding urgent change before the irreversible erosion of our shared future.”

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

Get ready to step back into the golden era of rave with "Hardcore Will Never Die," a high-octane EP that pays homage to the raw energy and unrelenting spirit of old-school breakbeat. This release is a love letter to the 90s – a time when dusty warehouse floors trembled under pounding kicks, chopped-up amen breaks, and speaker-shattering basslines.

From the opening track, you're thrown headfirst into a sonic storm of gritty samples, rave stabs, and relentless momentum. Each tune is soaked in nostalgia yet finely tuned for today’s floors, bridging the gap between classic hardcore aesthetics and modern production weight.

This isn’t just a revival – it’s a reminder. The underground never died. The breakbeat never faded. Hardcore will never die.

Expect dancefloor damage. Expect hands in the air. Expect the return of the rave.



>>> comes in different marbled colored 12 “ Vinyl and ONLY on Vinyl <<<

Jocelyn Brown should need no introduction at this stage, one of the US's most respected vocalists famed for bringing the gospel edge into contemporary R&B and soul music. Brown was the voice behind the celebrated Disco and Boogie outfit Inner Life, whose 1981 self-titled LP you currently hold in your hands in the form of this luxurious reissue.

Cutting 2 LP's for the label in the early 1980's, Inner Life came
strong with club hit after hit, working with the top producers, mixers, arrangers and studios of the day the group were gaining cult status with their records becoming the taste of the dancefloors at the Garage, the Loft, the Warehouse and everywhere and anywhere else in-between! It's no surprise then, that these records are still coveted by music lovers and DJ's today, classic status bestowed upon this most soulful of catalogues.

A truly essential package for the die-hard Disco aficionado or for those who are exploring this most important movement in dance music for the first time. Curated with the full input and backing of Salsoul Records and carefully repressed across 2x12"s for maximum sonic playback. For listening, for dancing, for turning on a party!

Remastered by Optimum Mastering. Fully authorised and approved by Salsoul Records. Worldwide distribution by Above Board.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Having carved out a place in the contemporary club scene with releases on Glitterbox/Defected, Boogie Angst & Lovemonk Records amongst others, Madrid's Casbah 73 recently shed his skin and is now ready to introduce The Jade, a live ensemble that prioritises emotion, excitement and the art of the song. Led by Oli Stewart (Casbah 73), the project brings together a remarkable group of players. At its core, this is about people: musicians in dialogue, shaping rhythms and melody, singing songs from the heart, that shared pulse based on a timeless musical vocabulary.

Opening with the exuberant 'Let The Light In', this is sizzling hi-jazz and sunny soul, shot through with a dose of funky Afro-Latin rhythms for good measure. Josh Hoyer leads the charge, delivering a powerhouse vocal performance, while Nia Martin and Deborah Ayo bring that gospel glow. As, indeed, they continue to do so throughout, especially on the deep, soulful standout 'When Love Left' or the shimmering, street soul meets Brit-funk feel of 'Change!' Experience the spontaneity and playful nature of tracks like 'Si No Me Quieres Esperar' (with Cuban maestro Ale Gutiérrez on vocals) infused with funky Latin and Brazilian rhythms, as well as sparkling, alien disco dub in the form of 'Space Lines'. There's no-holds, hands-in-the-air, fluid disco club grooves on 'What It Takes' and driving, riotous soul-jazz on 'Being Seen'. Just when you think you've got it figured out, the band change it up and stretch out with beautiful jazz-funk instrumentals like 'At The Queensboro' or lush sonic gem 'On That Strange', a track that feels like a long, blissful afternoon fading into evening, with things left unspoken in the air and mystery in its kinky grooves.

The Jade's sound is post-pout, studs up, raw soul, free from modern dancefloor tyranny.It's intimate disco, dead-selfie freedom, Afro-Latin jazz-dance and Iberian funk all rolled into one, rooted in emotion and shot through with a healthy dose of funky bad ass groovism. Genres that blend and bleed into each other following one simple idea: songs and the expressive power of live instrumentation.

A disco-funk venture laced with balearic pop as nostalgic as it is buoyant, Dijon-based outfit FLAUR land their inaugural EP on Cosmocities Records. Comprised of three original songs shifting gears between electrifying grooves and washed-out downtempo, plus three remixes courtesy of Art of Tones, Gaettson and Faze Action, ‘Hold On’ speaks the language of lively waves and sun-streaked coasts. By turns explosive and contemplative, the duo’s vision covers a wide span of influences and styles, fusing Californian P-funk with a touch of Supertramp-esque disco and nuances of alternative pop lined with silky funk in the style of acclaimed Versailles band, Phoenix.

Full with suave Wurlitzer piano chords and ultra-syncopated slap bass, the lead-track ‘Hold On’ is an ode to 70s disco pop with its satiny textures, solar-powered melody and a swing bound to cause ravage on the dance floor. The perfect mix of luxuriant disco, vibrant boogie house and supra-sensual cosmic escapology. Even more elating, the layered funk of ’Now’ takes us into a choppy swirl of unshackled pizzicatos, iridescent envelopes and epic vocal flights. Recorded live at Mastoid Studio in Paris, ‘On My Mind’ trades the hi-velocity disco of the first two cuts for a poignant, introspective movement, revolving around the bewitching voice of Florian, a piano and riffs draped in melancholic reverbs. A sonic journey round the confines of soulful dream pop and further intimate songwriting.

In the hands of another rising Dijon-based artist, Gaettson, ‘On My Mind’ morphs into a dance floor-oriented missile, mixing a highly volatile strain of corrosive IDM, sharp breaks and nervy vocal samples. Remixing ‘Hold On’, South of France producer Art of Tones takes us on a proper cosmic trip, laying further emphasis on the original's funky impact through sun-drenched loops a la Alan Braxe and Fred Falke, and a buildup tailored for extended seaside afters; feet buried deep in the sand, head up in the clouds. UK groove legends Simon and Robin Lee, alias Faze Action, round off the package with a chiselled revamp of ’Now’. Slightly accelerated and built for the club, this remix treats us to a pure moment of dance-ready bliss, packed with sinuous rhythms, dynamic bass and fevered percussions.

The Jack Ruby releases have been some of the most sought after dnb/jungle tracks on Discogs, mastered from the original DAT by Beau and pressed on 180g vinyl, sounding incredible!

made at the Green Room in 1994

BTW - in the rush to get these made in time for The Run Out i messed up the label - I write these out by hand (using an Ipad so its cheating really) and i put the cat number as KR007 and KR008, overlaid a layer or something like that. anyway - my mistake, hold my hands up...

We have a truly hero of classic house music, for the 10th FRL Classic Edition instalment. Mr. Kerri Chandler returns with this classic from 1994. All four tracks feature the trademark Chandler bassline, jazzed-out trippy chords, and chopped up vocals. Pure deepness musicality with an oldschool twist.

Coming correct with a heavily garnished follow-up to his first drop of neo-junglist delicacies, Skins is back with a second volume of Sauce Direct. The name tells you all you need to know about the school of breakbeat science he's coming from, but the learned craft of drum edits is offset by a mischievous thirst for disruption, presenting the matter on this platter as a stand-out serving on the plentiful menu of modern-day jungle.

'Strictly Hardcore' brings together the heavy weather of quintessential dub techno with deft, stepped breaks for a brooding heads down tear-out while 'Lost In The Sauce' revels in vintage synth melancholia as a unique backdrop to Skins' own brand of rabid Amen chops.

'Reaper's Kiss' switches stance with some heavy sub wobble and the teased flicker of Apaches in a patient half-time roll out of serious soundsystem reverence. There's space for some snappier breaks in the second half, but this cut is testament to Sauce Direct being a space for wider ideas beyond textbook jungle.

'Double Dose' keeps the stylistic dexterity on lock with a swerve towards trance-speckled lead lines, deployed with a necessary restraint to play nice on top of the nimble breaks. It's an approach which could be so easily overcooked - in Skins' hands the balance of flavours is on point, capping off another essential round in this must-check series of white label delicacies for heads with real taste.

Originally released following his acclaimed sophomore album, HYBRIDISM finds Ecuadorian producer Nicola Cruz at the height of his exploratory powers. Now reissued on limited editon green vinyl, this expansive EP re-emerges with renewed relevance—blending North African rhythms, ethereal Persian motifs, and vocal fragments that evoke both ancient traditions and imagined worlds. A contemporary take on global exotica, HYBRIDISM is a vital entry in Cruz’s ever-evolving sonic journey.

'Aima’, named after the refrain sung by Igbo girls from Nigeria, creates the illusion that you’ve dusted off a lost LP. The aesthetic details recall expertly produced French exotica from the 70s, an overall feeling of warmth and character rarely pulled off with such panache.

‘Naeku,' in Cruz’s words, is "a sorrowful song in minor tonalities, but with a warrior energy, strength and forward vision: a soul departs, but a new one arrives in the name of Naeku, a maasai child. Not all grief needs to be a suffering; a feeling which I can relate to the place I come from with a Quechua word: Llaquilla - triste, pero feliz (sad, but happy). As always, the 303 adds that heart touching feeling.” If there’s a template for Multi Culti’s ethos, Cruz has synthesized the formula: Masai lamentation filtered through Quechua wisdom with a touch of 303 for the soul.

'Drom Tradisie' is a nostalgic vignette that captures the fantasy of a scenic horizon on a lost beach, a portrait done with the FM domain of synths that somehow associates with tropical imagery.

'Third Eye Dub’ takes things deeper, exploring the fractal realm of concentration, a point where the Oud (played by Nasiri) acts on the pineal gland. This inward journey through the cavernous depths of the subconscious sails on a smooth modular groove that transports the listener across this psychic expanse, a filigree of Persian harmonies (in Shur, to be exact) tracing outlines in the dark.

Finally, 'Kawe’s Dream’ ventures even further into the imaginary spaces of the mind. It is an aural reconstruction of the Tibetan Bardo Thodol, or ‘Book of the Dead’, a sacred text that guides the spirit through the passage out of the body. In Nicola’s words "To paint that depth, I had these Tibetan chants in mind, that I ended up crafting with Ableton's vocoder over a piece of Ayan’s vocals (sung in a made-up language). A few notes, and it gave the gravity I was looking for in the song.” Stuff that only a producer as capable as Cruz could pull off.

Hybridism’s five tracks are sonically diverse, yet all possess an ephemeral quality, a pastoral, transitory feeling that travels through the music - we listen to the sounds pass us by, we might even catch a hook or two, but the feeling is of sand running through our hands, deep, elusive, beautiful.

With a steely sound matching fathoms-deep echo chambers with metallic textures and precision drums, Sciama arrives on Samurai Music to press into the inspiring hinterland between techno and drum & bass.

Sciama is the production alias for Michael Watters, a producer who since 2019 has carved out a formidable reputation across a stellar run of releases on ASC's Auxiliary label. While his music references UK bass, transcendental techno and industrial, the end result is a taut, focused journey through fractured, weighty rhythms and vast, ranging atmospherics tilted towards the darkness.
Between Veils is testament to Watters' refined production, steeped in intensely detailed and layered sound design in constant fluid motion, whether locked to the grid or shifting across the surface of the track like grayscale snow drifts. Noise becomes a subtle tool in his hands, capable of delicacy as much as abrasion, and discord evokes a haunting beauty if you listen past the clangorous overtones he elicits from his pads.

For all the writhing, artful sonics, there is still ample weight in the Sciama sound to hold court over a sound system. 'Figures In Mist' rests on a constant half time cycle underpinned by monolithic bass pulses and 'Ghost Trail' finds deadly energy in the faintest flicker of double-time hats above the slow march of a 4/4 kick clocking around 85BPM. Restraint is paramount, even in the fuller rhythm section that drives 'Anima Trace', creating tension through what isn't sequenced as much as what is. 'Veil Of Mirrors' has an especially punchy kick propelling the cavernous echos and ripples that shape out yet another vivid soundscape, but at all times Watters keeps a tight grip on his arrangement to keep the energy simmering just below boiling point.
Moving well beyond the boundaries of any specific genre, Between Veils winds upas a strong, independent statement on the meeting point between broad influences and clear intentions - a formidable addition to Samurai Music's explorations beyond drum & bass and Sciama's steadily evolving, singular style.

Leng Records proudly presents Everything You’re About to Hear Is True: Volume 1, a compilation carefully curated by Rotation Soundsystem. Brought together by Rotation founders Dean Meredith and Ben Shenton, alongside the Wrekin Havoc trio of Rob J, Stuart Robinson, and Rich Hall, this debut volume captures the collective’s shared vision – shaped by decades of crate-digging.

Founded in 2013, Rotation has grown from a modest gathering in Staffordshire into a thriving community of like-minded music lovers, attracting heads and partygoers from across the UK – and well beyond. What began as an intimate affair has evolved into a full-scale, three-day celebration, now held in a grand yurt and powered by a bespoke six-way sound system. The rig features four Klipschorns, two JBLs with twin 18” and 15” sub reinforcements, compression horns, and an Isonoe 420 mixer.

Meredith explains: “With the help of my brother, Martin, I’m constantly looking at ways to improve the setup. I love the way Larry Levan did that at The Paradise Garage. We have a few things that are custom-made. I want our system to be unique to us.”

According to regular attendee, DJ and writer Steve KIW: “In the right hands, the sound system at Rotation – very much Dean’s labour of love – is untouchable. The comparisons with Mancuso’s Loft come easily because they are deserved. There isn’t a bad spot in the yurt. Wherever you are, it sounds incredible.”

As the dancing continues through the weekend, the DJ line-up has grown to match the occasion. Guests and headliners have included a roll call of legendary selectors: Bill Brewster, Colleen “Cosmo” Murphy, Phil Mison, Nick The Record, Ruf Dug, Mark Seven, and The Idjut Boys — the latter playing a marathon 10-hour set in 2024. The parties have also featured live performances from Emperor Machine, Quinn Lamont Luke, Reuben Vaun Smith, and Orbs of Light.

Presented on gatefold double vinyl, this lovingly assembled collection is the result of decades spent digging through dusty crates, reflecting the selectors’ deep-rooted passion for uncovering rare gems and overlooked treasures. Decidedly European in spirit, the album brings together 14 rarities with standout selections from Belgium, Sweden, Italy, Germany, and France. The vast majority of tracks are true obscurities, and nearly every one is a mid-tempo bumper.

“This has been a long time coming – something we’ve always dreamed of doing. We’re incredibly thankful to Leng Records, who understand our vision and what we’re trying to build. This compilation pulls together some of our favourite tracks from over the years. It’s not just a playlist – it’s a journey, a window into the sound of Rotation,” says Meredith.

Cinthie makes a welcome return to her own 803 Crystal Grooves imprint this June for its sixth release, the project comprises four original"s showcasing Cinthie"s many different sonic styles and influences.
The past decade has seen Berlin"s Cinthie moving from strength to strength, racking up milestone achievements like her DJ Kicks mix compilation and a steady stream of critically acclaimed material via the likes of Aus, Heist, Shall Not Fade and of course her own 803 Crystal Grooves label where she returns here with some fresh machine jams.
"Grooves" kicks off the package, a dynamic dance floor cut fuelled by processed vocals uttering the track title, murky bass stabs, heavily swung drums and gritty saturated stabs all dynamically evolving and unfolding throughout. "Boxer" follows next and showcases Cinthie"s love for dub-tinged sounds, laying down spiralling dub echoes, a snaking bass groove and hypnotic chord sequences atop a robust, swinging rhythm section.
"Hands Up" then kicks off the B-Side, shifting gears to a classic House aesthetic with dreamy keys, bright stab sequences, glistening synth textures and smooth strings, intertwined with soulful vocals and classic 909 workout. "She Wants It" then concludes the EP on a more cinematic tip with sweeping lead synths, fluttering arpeggios, elongated bass drones and vocal lines running with raw, crunchy drums.

The title says it all - A Cellarful Of Motown! ..A Northern Soul Love Affair.

West Grand has been set up to mine the deep vaults of mighty Motown courtesy of a licence deal with Universal Music.

The first West Grand LP fuses two musical religions, Motown and Northern Soul.

In some ways they are unlikely bedfellows. Motown became known as Hitsville by churning out hit after hit, while Northern Soul passion is fired by a constant search for the unknown and the obscure.
The 16 tracks here - on incredibly the first Motown various artists vinyl album released worldwide for 40 years - join the dots. All of them were recorded in the 1960s. None of them were released at the time, despite being prime examples of the sublime magic conjured up by Berry Gordy’s genius-like team of singers, writers, producers, arrangers and musicians at that tiny little snakepit of a recording studio on West Grand Boulevard in Detroit.

Motown authority Adam White’s album sleeve notes confirm just how productive that studio was. It often ran 24 hours a day, 7 days a week.
As a result, lots of the most sublime music ever made was somehow rejected for release. It would have stayed unknown and unloved in tape boxes if it had not been for detective work by Soul aficionados turned detectives. That’s Northern Soul power. Many were DJs and collectors tracking down cassette copies or acetates (some of them found in rubbish skips and about to be destroyed). Others, notably Paul Nixon, the founder of the CD series A Cellarful Of Motown! which inspired this album, badgered the Motown gatekeepers so much they were eventually granted access to the forbidden kingdom.

Over recent years all the tracks contained here have been released—some bootlegged, some on legitimate seven-inch issues, some on CD, one download-only. The album proudly boasts debut vinyl release for some in the collection. All have been remastered and have never sounded better.

As a homage to Motown music makers + Rare Soul fanaticism, WEST GRAND believe we have come up with a classic.

Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.

The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.

Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.

What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."

But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.

Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?

For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.

One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

I turned the page and will never forget what I then saw.

The fountain pen scratched against the paper, whistling like fur on an abandoned tire in the
middle of the night at the centre of the universe in the core of whatever it is I’m trying to believe.
I am a patient human and I live and breathe. I know this for sure.

I read about a whispering stillness of the Stadsnacht as my blood levels gradually even out again. Beneath the ink, the words take shape. This is a secret correspondence with the Book of Change – a dialogue not meant for eyes or ears, but for the soul. Are you still with me?

The Snake Rope tightens, its Coils Dive into the deep well of patience, where waiting is an art, a
dance with the unseen. The Scientists Say we should measure, predict, contain—but here, in
the shadow of the deepest of nights, the only truth is the Celebration of Ignorance. Love is the
force that binds as it untangles the invisible thread that refuses to sever. The next page quotes the mystical figure Daim: “Never Dissever Us.”

There, in the dawning light, the Dageraad reveals the Icequeen in her frigid throne, the Topiary Man standing guard in his sculpted silence. In this quiet landscape, I wait. I continue to wait, for I have good fortune on my very hands.

If You Won’t, I Will.

Can we exhibit the power to possess conformity? Can we redeem the benefits of crossing the water? Yes. The choice, the act of breaking through the barrier of convenience, is both a burden and a liberation.The words swirl, abstract and concrete, like action and inaction. The Book of Change is a paradox to puzzle over.

The evening cool rests its shoulders on my fluffy neck. I inhale as my pen lifts itself from the
paper once more, shedding ink as though it were tears of joy. I know that I have touched the
edge of something vast, something that moves beyond the grasp of reason into the heart of the
I Ching, the ever-turning wheel of change. This is the correct orientation. This is the vivid
imagery of clouds falling from the heavens and into our laps. This was never meant for your
ears. This was meant for you to feast on as the seasons bestow upon us

DJ Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music)

Infinity Mirrors is a representation of the ongoing process of learning about who we are and how we chose to live our lives. Taking moments to reflect on where we have come from, where we currently are, and where we might be going.

Thematically, this record explores a breadth of human experiences… Yearning to be with loved ones far away, battling with anxiety, recognising love felt for the first time, welcoming life into the world, learning to go with the flow & not get caught up on focusing on things that don't necessarily matter.

Written, developed and reworked over the five year period since second album Next to Nothing.

The process of this album spanned over two different studios, birth, death, the pandemic and more. Almost all of the music on this record was started between 2020 & 2021. It’s been an enlightening experience being able to go back to old tracks and re-work them to bring them up to date based on my lived experiences up until that point. With each new revision I have learnt something else about my creative practice and brought my current self into the music whilst also maintaining where I’ve been at previously.

This album has the most features on any of my records to date, both long time and brand new collaborators with guest appearances from Laura Misch, Marysia Osu, Andrew Ashong, Julia Biel, Dariés Street-Soul, Tawiah, Alexa Harley, Rohan Ayinde and Alex Cosmo Blake.

After over 50 events of Bristol's beloved Club Blanco, the city's anointed high priest of night, Chez de Milo, is crystallising his party's dimension-hopping hedonism into a label, calling on an extended family of esteemed producers and musicians to make it happen.

First up is Johnny Aux, aka Quinn Whalley (Paranoid London, Sworn Virgins, Decius), delivering two offerings accompanied by remixes from Jamie Paton and Chez de Milo himself.

Supersonic blends a hyperspace bassline with euphoric 90s synth elevation that delivers us to a blissful dance floor crescendo, where you've been dancing for hours—maybe days— when the sun appears over the horizon and pierces through the club's blacked-out windows. Chez de Milo's re-rub wraps you up vines of a living, breathing forest, where all your favourite flora and fauna summon you to the dappled light of a clearing, front left of the booth.

On The Train locks you into a rolling groove, and electro slaps and smacks. It feels covered in equal parts space dust and the dust of an old crate of records, where this forgotten banger has been buried deep for 25 years, waiting for the right hands to pull it out. Jamie Paton veers off down a stranger track, conducting a driving Italo beat with eerie soundscapes dissected by lasers and a brooding bassline.

12-inchers from Dublin disco messers Fatty Fatty only come along once in a while, but this summer they've got 2 biggies lined up for festival messing, sunset disco joy and eyes-down dirty basement feel...

Pablo and Shoey's 'Raw Human Emotion' EP features 3 tracks never before seen on vinyl and showcases the range of their productions neatly. First up you've got 'Raw Human Emotion Part 2', a track they provided for a Paper Disco compilation many moons ago. Chopping up sections of an old disco-soul stomper and getting deep inside the loops before rising to a joyous hands in the air climax, this is a peak-time winner that brings everyone together.

Flip over for two lost gems from the 'Do It Backwards' EP for Sprechen, which got lost in the chaos of the first Covid lockdown.

'Shoey's Acid Trip' is a peak time, hands aloft, laser reacher - acid preacher style slammer that builds like a bastard, while Pablo's 'Air Raid Dub' of the title track melds a wonky as heck bassline with a wicked boogie breakdown before slamming back in, rave sirens and all. Serious 3am tackle all round...And the likes of Justin Robertson and Severino of Horse Meat Disco agreed at the time, with the latter proclaiming 'Now this is something different...'. The whole EP fits that bill, and should do some serious damage around the place this summer...

2025 Repress

Jim Coles once again turns the tide towards a new horizon and travels further into the echo chamber. Leading on from the much-lauded ‘Secret Location’ mini-album with Seekersinternational, one-offs such as ‘Open Palms dub’ (Dub Stuy) and other teasings, ‘Acid Dub Studies’ is the fully-fledged result of the merging of the calligraphic expression of the 303 Acid bassline with the stern sway of Dub Reggae and the hazier edges of Dub Techno and Ambient music.

For those who have been paying close attention, this project will come as a welcome return to the vulnerability and playfulness of early Om Unit records such as his sub-radar single from 2010 ‘Lightgrids/Lavender’ (All City Records) or the unearthed chugging ambience of ‘Friend of Day’ (Idle Hands) and indeed in some sense draws from similar wellsprings as moments on 2013’s Bass classic ‘Threads’.

Whilst being perhaps an ‘interim project’ this is still a vital and important expression of exploration and playfulness. A study in the true sense and borne out of a subtle but pervasive frustration with the rigidity found in musical words he has up to now been cohabiting, Acid Dub Studies comes from the pressing need to break with perceived expectation and to explore an honest and natural space away from the genre labels and tags that had been often lazily applied to his sizeable catalogue of music.

With no desire to reinvent the wheel, rather to paint pictures in an honest framework, the LP was crafted using a medley of classic analogue mixing techniques inspired as much by the adventurous dubbing of Adrian Sherwood as by the inward-delving haze of Scott Monteith’s Deadbeat project. Created during a period of lonely introspective walks through his home town of Bristol, the cover art is a photograph of some of the iron kerbstones that are found almost exclusively in the characterful and hardy city which were installed in the late 1800’s to protect pavements from cart wheels. Something about the permanence of those iron slabs and cobblestones inspired a sense of comfort and determination.

Acid Dub Studies is due for release as yet another self-released label-free project leading on from recent EP titles ‘Violet’ and ‘Submerged’ both of which hinted at some of the shapes found in this full length album.

Once again Jim has shown a rare convincing adaptability that few electronic artists can embody. Another step on the journey of personal and creative curiosity that fans are sure to appreciate.

Isle of Jura teams up with French digger Switch Groove on the next compilation titled ‘Archipelago – Cosmic Fusion Gems from France (1978-1988)’.

Switch Groove explains the concept “When I seriously began to search for and collect records, I was mostly interested in sounds from african-american, afro-latin and UK contemporary scenes. Sounds from distant territories, faraway from my native Massif Central, a highland region in the middle of France. The grass is always greener, I guess however, as I was digging in fleamarkets in the early sunday morning light, as well as spending regular sessions in second hands record shops, I began to discover hidden treasures, underground gems and side-projects of an unknown French musical repertoire.

French music is often reduced to its most famous musical forms, characters and signatures : French songwriting and voices, 60s yéyé, prog rock concept albums and soundtrack explorations, 80’s indie rock scene or more recently electronic French touch. All these sounds have a common feature : a geographical link, forged on mainland French territory, following the contour of the so-called Hexagone, the border that shapes the grounds for an homogeneous cultural expression. But beyond this showcase lie more complex, hybrid and global French productions. From French Caribbean Antilles to Parisian suburbs - especially during the ‘Sono Mondiale’ era -, in French areas outside urban cultural centers, musicians have created fusion and cosmic musical expressions. As the mid-seventies meant a greater freedom to make and record music, a wider use of electronic instruments like synthesizers and drum machines helped to deliver some magical projects you could only find lost in the middle of cheap records during a sunny record digging session. I selected these tracks, in an attempt to shape an ARCHIPELAGO that highlights significative contributions of African diasporas and ultramarine territories into French musical borders. It is the map of a land I have gradually drawn, thanks to deep listening of amazing cosmic and fusion tunes. I hope you enjoy the journey.”

Multi platinum-selling musician and multi-instrumentalist Jamie Cullum today announces The Pianoman At Christmas - The Complete Edition. Due for release on 19th November via Island Records. The deluxe album completes last year’s critically acclaimed hit album The Pianoman At Christmas Part 1, with its Second Part - featuring 11 covers of classic Christmas songs, as well as two original songs, including lead single ‘Christmas Don’t Let Me Down’, out now.

Drawing from the past and inspired by the present, The Pianoman At Christmas - The Complete Edition sees Jamie team up with London jazz innovators Kansas Smitty’s, as well as composer and producer The Vernon Spring and acclaimed LA-based jazz singer Lady Blackbird to complete a piece of work that is imbued with seasonal sophistication. Alongside his two original tracks, Jamie breathes new life into classics such as ‘Winter Wonderland’, ‘Silent Night’ and ‘Frosty The Snowman’, ranging from ‘Amazing Grace’ to ‘Man With The Bag’ and ‘Sleigh Ride’. The Complete Edition will be released on double CD and double black vinyl formats, alongside a limited run of 180G Heavyweight coloured vinyl in red and gold.

Speaking on the release, Jamie said -

“I had a huge amount of fun creating part two of TPAC. Recorded live, all in the room together - it’s the party after the big show, with friends, drinks and some of the finest musicians on planet earth.”

Released almost a year to the day before The Complete Edition is due out, The Pianoman At Christmas featured 11 original songs played by 57 of Britain’s best musicians, recorded in Abbey Road’s famous Studio 2 and produced by Greg Wells whose The Greatest Showman soundtrack spent 28 weeks at number 1. The album sold over 37,000 copies, spending 6 weeks in the album chart and peaking at number 11. In December Jamie broke the Guinness World Record for the largest music lesson ever, when he held a virtual piano lesson for 2,282 people, teaching them the carol ‘In The Bleak Midwinter’ with special guests Robbie Williams, Sigrid and Dodie.
With 10 million album sales and over 890 million streams to date, Jamie is a celebrated musician the world over with loyal fans in every corner of the globe. With a career spanning over 20 years, his legendary live shows have seen him perform and work alongside artists as diverse as Herbie Hancock, Pharrell Williams, Kendrick Lamar and IDLES - Jamie writing on the latter’s album Ultra Mono. The success of Jamie’s major label breakthrough, Twentysomething in 2003 and its follow up Catching Tales saw him nominated for a BRIT, Grammy and numerous other awards around the world. In 2020 he won an Ivor Novello Award for his track ‘Age of Anxiety’, taken from his acclaimed 9th studio album Taller. In addition to his enduringly successful recording career, Jamie has also established himself as a multi-award winning music broadcaster; his BBC Radio 2 show celebrated its 11th year on air this year.

With her debut album Black Acid Soul earning critical praise, Lady Blackbird is a revelatory new talent with music that transcends the jazz scene through which the LA-based artist is rooted. Reflecting influences as varied as Billie Holiday, Gladys Knight, Tina Turner and Chaka Khan, with critics drawing comparisons to Adele, Amy and Celeste, Lady Blackbird’s distinct and beguiling voice is not one to be missed.

UK band Kansas Smitty’s have developed a musical voice wholly unique from what’s happening around them. They are led by band leader and producer Giacomo Smith who's cinematic compositions feature on their releases, most recently 2021's acclaimed Things Happened Here for Berlin based label !K7. In 2015 they launched their own east London venue and bar, of the same name, which became one of the conception points for the current UK jazz boom.

Londoner Sam Beste aka The Vernon Spring is a polymath in music who has production, writing and performance credits as eclectic as Amy Winehouse, Matthew Herbert, Kano, Joy Crookes, Beth Orton, Blood Orange, Gabriels and MF DOOM. Since 2019 he has been making waves with solo project The Vernon Spring, which foregrounds his rare capacity to hold sophistication and simplicity in the same hands through highly intimate muted-piano compositions and improvisations.

The next volume of the Fruit Medley series kicks off our releases for 2025!
Welcoming 4 Fraise newcomers to the bowl, this VA features an array of techy club pumpers from across the house & techno spectrum.
Heads down, hands up action throughout!

Hard Times continues its legacy of championing house music’s finest with another landmark release that brings things full circle. This time, the label welcomes none other than Leeds legend Paul Woolford - one of the most prolific and versatile electronic artists of today - to reimagine one of house music’s most cherished anthems, Karen Pollard’s ‘Reach Out To Me.’

Originally released in 1996, ‘Reach Out To Me’ quickly became a club classic and an archetypal vocal house anthem. Now, Woolford - known for his ability to straddle both underground credibility and mainstream success with ease - boldly takes on the challenge of remixing the iconic track, delivering not one but two impressive reworks that showcase both sides of his production persona.

“‘Reach Out To Me’ has always been one of my favourite US garage records, so when the opportunity to rework it came up one hazy summer evening last year, I knew it had to be done,” says Woolford. “Both mixes have been road-tested and have caused havoc in all sorts of situations, from warehouse raves to basement afters to peak-time sessions and beyond.”

The first remix sees Woolford take the track deep and epic, building to a soaring, anthemic breakdown that pays homage to the song’s timeless energy. Meanwhile, his breakbeat-driven Special Request version adds a UKG twist, built for peak-time destruction in the hands of all selectors.

A true labour of love, these remixes breathe new life into the beloved classic while staying true to its soulful roots. Hard Times fans, house heads, and bass-driven ravers alike can now experience Woolford’s masterful reimagining of ‘Reach Out To Me.’

Jack Cutter is a songwriter and guitarist based in the San Francisco Bay Area in California. He started with a $5 banjo just after finishing high school. In University, during the late 60's, he performed with bar bands in Buffalo, New York. After completing University and a year as an Aerospace Engineer, he decided that attack helicopters were not really what the world needed and so
he headed off to California in pursuit of music and mystic times.
Fast forward to Fall 2014: Jack is playing his quintessential tune, 'Gift of Our Fathers' in the SF BART subway to an onslaught of morning commuters when he was spotted by 40 Thieves. Eureka! Love at first sight and in the next few months, two of Jack's original acoustic pieces were given the 40 Thieves
treatment.Enter David Sanderson aka David Harks, a singer, songwriter, producer and label curator from the East Sussex region of the UK. 'Having fallen in love with the cosmic boogie (of 40 Thieves classic 'Backward Love') I really felt I would
love nothing more than to write a tune with them. Layne got back in touch with a track he was working on entitled Serpent Strut with Jack Cutter and we worked via email over a few months to brew up that misty soul.' Deep, stony, psychedelic, drawing from the well of Hawkwind, Joni Mitchell, David Crosby, Baffo Banfi and Tolkien-tinged acoustic Led Zep, the proof of
concept is now complete and in the capable and loving hands of Claremont 56.

Prick up your ears everybody: Uluru number 3 is ready to take off!

This time Little Beat More's sub-label Uluru, featuring highly acclaimed remix/mash up series, sees the participation of living legend Jstar.
The west London reggae hero delivered a smoothly bouncing rework of the classic “Eye of the tiger” by the Survivor, that originally gained fame through being the anthem of Rocky III.
The flip sees the debut of an Italian duo called “The Dynamates” (The Rebel and Dibba). They put their hands on another precious song that made history, namely “You got to love” from Candi Staton.
Pull up guaranteed!

Pressed on high quality black and yellow lime vinyl (48 gr.)
Edition of 350, coming with “hand stamped” vintage yellow paper sleeve.

ULURU 2020
“Mind Control, Modern Slavery”

Hands in the air, Uluru is back with another Reggae Hip Hop 7” Vinyl.
For the occasion we're so proud to welcome back legendary producer Jstar, this time in combo with Canadian reggae artist Dubmatix.
The duo deliver a punchy remix of the classic Scenario that will heat up the dancefloors during the upcoming summer.

Pull up guaranteed!

Pressed on high quality black and white vinyl (48 gr.)
Edition of 200, cut it loud and fat, highly recommended for big sound systems.

Produced by Jstar & Dubmatix

Hands in the air, Uluru is back with another Reggae Hip Hop 7” Vinyl.
For the occasion we're so proud to welcome back legendary producer Jstar, this time in combo with Canadian reggae artist Dubmatix.
The duo deliver a punchy remix of the classic Scenario that will heat up the dancefloors during the upcoming summer.

Pull up guaranteed!

Pressed on high quality black and white vinyl (48 gr.)
Edition of 200, cut it loud and fat, highly recommended for big sound systems.

Produced by Jstar & Dubmatix

Repress!

Emotional Rescue and Utopia Originals join forces to release the pop, new wave, funk of Obscure Desire, a one-off project and EP from effervescent 80s Auckland, New Zealand that saw three friends come together to make a perfect piece of club pop history.

Revolving around the musical talent of Andrew Waldergrave, a trained pianist, music degree drop-out, who moved to the island’s cultural centre of Auckland and emersed himself in the arts and nightlife scene the city had to offer.

Working at Obscure Desire, a Fashion Boutique meets Salon, he became friends with Grant Mitchell and Giselle Trezevant, together forming not a band, but as they saw it, a project to make a record for their scene and beyond.

Coming from outside of the established band route of endless rehearsals, local gigs, growing a fan base and home recordings, they fell did not have the support network of indigenous New Zealand labels. As so often the case in unearthing these lost reissue gems, the artists took matters into their own hands, seeking to write, record and release themselves.

After meeting Trevor Reekie, head of the local Pagan Records label, he took on production duties. Collating the necessary musicians, the project grew from the one song to become a full EP, recording between a home 16 track studio and a full 24 track desk at Harlequin Studios.

Centred around the title song, it is a perfect pop moment. Waldergrave’s piano leads into an infectious groove of slap bass, gated drums, Reekie’s acoustic guitar and cut vocals, before Trezevant’s vocals propel the song to an 80s swing out vibrations. Coming in Extended, Harlequin and Instrumental (digital only) mixes, this was an overload of White Funk.

Here reduced to the best two versions, more room is given to let the other recordings breathe, first the gloriously anthemic instrumental Bullet. Intricate programming and production, lead into the pop sensibility of I Wonder, some kind of wonderful antipodean reimagining of Chris & Cosey finest pop moments, an optimistic paene that permeates the whole EP. Closing 4A, espouses the Jazz Funk, with Trezevant’s simple French lyrics telling of dreams of a lover’s image.

Released in 1986 with no local support from radio and TV, it became something of a “hit” record in New Zealand’s more discerning clubs, however the members soon moved to London and the project remained a one-off moment. Over time the EP has gained cult status to become globally desired that sees copies of the original 12” selling for $000s. Now at last available for a global reach, while remaining a personal, uplifting moment of time.

BEATALISTICS, the soulful South-German Drum & Bass label, run by Enea and MC Fava, is celebrating its 100th release. ONEHUNDRED reflects on almost one and a half decades of label back catalogue with a 29 tunes strong 'best of' various artists digital compilation. Included are also 6 brand new tunes which are packed on a vinyl sampler In addition. Featured is orchestral DnB pioneer KEENO who puts his magic hands of 'Sarah', taken off FAVA's Destiny EP with Smote & Becca Jane Grey and rounds up the meaningful song with his cinematic trademark sound . FAVA also adds some decent chants to COMMAND STRANGE'S 'Kindness Flow, a positive and uplifting liquid roller that is going to make your soul smile for sure. Long time label friend PAUL SG, head honcho of the brilliant soul driven Austrian imprint Jazzsticks delivers one of his signature amen break soul-rollers with 'Pale White Boy'. Label boss ENEA can't be missed on here and literally delivers the 'Heat' with his contribution. Beatalistics sticks to the label philosophy and supports local talents and important label representatives DAVA and MOJOMAN.'Pictures' delivers dancefloor vibes with a deep bassline and strong vocal arrangement and proves that Dava is one to watch out for in the near future. MOJOMAN maintains a desire to dance with the hypnotizing 'Pillers of Nah', following his unmistakably melodic and hymnal style.

DJ support from DJ Sneak, Joss Moog, Jason Hodges, Austin Ato and Igor Gonya

From the wine country of Bordeaux, France Suburb Beat of Robsoul and Ondule Recordings fame brings us his first vinyl release titled the ‘Red Eyes EP’ with a bumpin Remix by Nenor! We have MPC magic on our hands with the title track Red Eye spreading vibes on thick! Hot on the heels of massive releases on Razor-N-Tape Reserve & Fossils it’s Nenor’s Bumpin Remix that’s sure to fire up dance floors the world over! We kick off the B Side with a solid groove titled It’s Time, Suburb Beat proves he knows how to D.I.Y. Nottingham style and inspires a shout out to Al Royale. Ain’t Got No Home has got ya chugging from the early morning through those early evening warm-ups. Dig it!

First release on Saucy Lady’s own new label Dippin’ Records features double sider smashers. Starting with the A side, cover of Carly Simon’s Why, a classic funk tune produced by Nile Rogers that got a fresh new boogie revamp, produced by Saucy Lady herself and Yuki “U-KEY” Kanesaka.

With a more dance-floor friendly up-tempo treatment, it will guarantee hands up in the air and hips moving round & round ‘n side to side.

Flip side is another heater, a cover of the 80s hit slow jam One More Time by Phil Collins but sped up and turned into broken beats flyness, followed with a deep house remix produced by Daisuke Miyamoto, member of Orienta-Rhythm who’s had numerous notable releases with King Street Sound.

B side ends with an acappella version so you too can play with your own creative version of the classic. With limited vinyl copies, you don’t want to sleep on this.

Early DJ support so far from AtJazz, Dave Lee, Yam Who?, DJ Spinna, and Star Creature label.

15 Years Of Dame-Music Vol.1 is an ode to the unmistakable sound of the TB-303, a core element of Bloody Mary’s widely respected sound and label. Above all, it celebrates fifteen years of quality dance music, set to continue across its three excellently curated volumes in 2025.
The first volume, releasing 28th March 2025, features a track from Bloody Mary and welcomes back Thomas P. Heckmann, E-Bony, and Hardfloor to the imprint.
15 Years Of Dame-Music Vol. 1 with label regular Thomas P. Heckmann’s ‘Days Of Buzz’ electrifying the dancefloor with waves of mind-melting acid over a resolute beat.
Label head Bloody Mary then drops ‘Fractal Waves’, playful, 303-licked, and comfortably switching between straight 4/4 and raw, crunched-up breaks; this is a raveready cut showing Mary at her best.
On the flip, artist E-Bony returns to Dame-Music after closing the label’s 2024 schedule with the ‘Machine Code’ EP. His ‘303 Elements’ builds from a low-slung groove to an intense climax as acid drips, oozes and rains over crisp drums while hoover sounds create an otherworldly atmosphere at its peak. Closing out the first volume is 90s Acid Techno duo Hardfloor with ‘I’ll Never Own A Helicopter’, providing a hands-in-the-air club track to work the dancefloor into a frenzy.
Mastered by Thomas P. Heckmann
Artwork by Philip Mercieca
(c) Dame-Music 2025, all right reserved

Founded by Robbie Redway and psychedelic researchers Mathieu Seynaeve and WaiFung Tsang, UK-based 'United Freedom Collective' has grown into a network of artists including Jordan Stephens, Falle Nioke, Eliza Shaddad, Labdi, William Rees and Facesoul. Originally conceived around psychedelic therapy sessions, online yoga and breathwork channels, the musical scope has expanded on each of the four EPs released on Maribou State's 'Dama Dama' label, and here continues with their debut on Multi Culti. This time Robbie takes the lead on production and sole vocal duties on all five tracks, presenting a range of influences and style. Lead single 'Between Memories' blends tropes of ecstatic dance with uplifting vocal piano house, somehow making flutes fit in with Detroit strings to epic, hands-in-the-air effect.' Title track ‘Bright Patterns’ bridges the gap between Jungle, Jai Paul, and Jamiroquai, a fusion of funky filtered disco-house and electroclash with side-chained pop vocal hooks. ’El Yo’ smooths things out, a dope, laid back groove with a measured reflection on psychedelic healing and the perils of spiritual bypassing. ‘Higher Drums’ warms things back up for the dancefloor with trumpet, afro-latin percussion, and flute flourishes. Finally, ‘Moonshine’ is a soaring, Amapiano-inflected post-desert-house ballad. Influenced, in their words, 'by birds, trees, Buddhism, yoga, headless way meditations, Jungian analysis, Zen Taoism, Chinese plant medicines, indigeneity, Amazonian and psychedelic cultures, icaros and world healing traditions,' the music is eclectic, ranging from afro-inspired jazz to Chinese folk, psych-rock to dub and dance music, an ambitious and inclusive range, collabs that extend well beyond the borders of western musical traditions. Their sound was described by Clash Magazine as an 'aural mosaic that glitters with colour and potential,' and while the sheen of the production and precision of the arrangements might seem a departure from Multi Culti's left-field endeavours, the psychedelic idealism and global connectivity make it a natural fit with the open-ended ethos of the label. Having already had radio support from KEXP, BBC6 Music (Laverne, Ravenscroft, Charles, Nemone, Letts), Jazz FM and Worldwide FM (Gilles Peterson), with a live show that sold out Dalston Curve Garde and The Waiting Room as well as supporting Maribou State for their recent comeback show at Islington Assembly Hall in London the collective's future is looking exceptionally bright.

Since the first release 5 years ago, Jazz Room Records has released an eclectic and interesting selection of releases.

From the Jazzy commercialism of the Take Vibe version of The Stranglers "Golden Brown" (5,000 vinyl single sales) to the 1960's Headshop Sounds of West Coast Fluteman Eric Ghost.

Other notable releases on Jazz Room include the critically lauded album by Vibraphonist Khan Jamal "Infinity", a compilation of Japanese tough funk fusionists indigo jam unit put together by DJ Colin Curtis, Nuyorican Latin House from Tata Vasquez, Jazz Dance Madchester Rave from Cruisic and some South African Holy Grail grooves from Abacothozi! The latest release is the Underground Latin J-Jazz of Copa Salvo, first introduced to London by DJ & Music Legend Jean-Claude.

Next up is an in demand Jazz Funk Obscurity from Educator and Trumpet Player John Lamkin whose self released album "Hot" saw the light of day in 1984 then disappeared into the Rare Jazz ether.

Currently changing hands for €300 and upwards it's again about to see the light of day in 2025!

This is an album that is aptly named with all the elements we love: Latin, Funk, Soul, Jazz and all round Double Hipness. What a Hot item it is too. From the Funky as it gets opening bars of "Ticket" through the Rio bound flight "722", taking in a visit to Wonderland with some Soul Jazz Vocal stylings on "Flower Power" and the Funkiest 17 minute Journey to Trumpet Enlightenment in the Title track "Hot" which is, true to its name, Scorching by the finish line is reached.

Already getting Big Ups on UK Jazz Funk Scene Founder Colin Curtis's Cult Radio Show "Jazz Dance Fusion" it's gonna be getting plenty of plays worldwide at the "Hottest" radio stations and funkiest jazz dance nights near you soon!

Ross Allen: It's brilliant!! Perry Louis: Massive! Dr Bob Jones:I Love Big Time!Colin Curtis: Killer!