Buscar:hard g

Hardcore tracks from Berlin that have never been released on vinyl before. Limited to 100 pieces.

Emotional Response is delighted to present the debut EP of Aaron Coyes (Peaking Lights / Leisure Connection) new project, as Exotic Gardens. An additional music universe as his love of dub expands to include new wave, goth and acid psychedelics across 5 catchy, bass heavy songs.

While the continuing journey of his duo band, Peaking Lights, with his wife Indra, earns plaudits and fans alike, his early years as a one-man lysergic music polymath that saw his youth in punk and hardcore bands, expanded during a mid-90s burst of “living in San Francisco” creative expansion, devouring music, genres, and influences for life.

Started as a sub-project to Peaking Lights and his personal dub excursions, Exotic Gardens pollinates a rich tapestry. Recording through the pandemic in their then home in Amsterdam, before being archived, assembled, and completed following the move back ‘home’ to the West Coast, California.

Re-embracing that love of his inner goth, the analogue warmth is all there, now featuring Coyes’ dub-languidity of stripped drum machines, widescreen bass, haunting guitar lines and an almost idle voice to peddle true, raw songs.

Combined, the pop layer of hooks and tight grooves instantly catch you. Opener and EP title, Drugs & TV is the perfect anthem for the Exotic Gardens sound, before the “dubwave” of Last Of The Light and Tonite shimmer that yearning melancholy of youth.

In the almost 10 minute dub house opus Organize Your Movement an appreciation and understanding of the psychoactive properties of the Roland 303 and 909, they also hark to a love of Industrial / Noise bands, a lineage from the death pulse of his cult project Rahdunes through to Sound Design and Sound System culture to the pop-dub psychedelics with Indra, now melded here to include a dark assault, whispering invocations and pulsing pads.

To close, Turn It On is a roaming multi-genre evocation, an exotic end from this constant troubadour, cassette junkie, record dealer, sound system builder, always looking to get back on the road, to live to roam.

“I turn it on, you lose your mind’.

BEATCONDUCTOR returns to 7" with 2 more heaters for his GATT series. A-side features an edit of an absolutely classic WILLIE HUTCH tune, while the B delivers a rework of JAY WILLIAMS' modern northern soul cut "TESTIFY" from 97.

Sound Metaphors 23 is back with more output from the pioneering free-party clan & scourge of the establishment, Spiral Tribe - this time with a reissue Stormcore 3 from 1996. This record comes from the mind of 69db aka Sebastian Vaughan, the improvising electronic musician who joined Spiral Tribe after their infamous ’91 New Year's Eve party at the then-abandoned Camden Roundhouse. We have here three powerful cuts of uncompromising hardcore freetekno - coming in north of 180bpm but structured on complex rhythmic patterns so this music is at once punishing yet also meditative, penetrating deep within the micro dimensions of these newly explored sonic paradigms.

The idea of the project is to reconstruct a different perspective of Tribal Italia, an imprint set in 1995 in Riccione.

The label recollected the attitude of the Afro/Cosmic djs of the region like Meo, Fary, Fattori and Brahms that created a distinctive "world-sound trademark" in whole Italy and Europe (as seen lately in the Austrian experiments of Stefan Egger).

There was a side of the label that was clearly influenced by the "heavy-sample" culture of Hip-Hop and, especially, by what was going on in the UK where groups like Transglobal Underground and Loop Guru were creating a new identitarian imagination.

These influences gave birth to a suggestive selection of the best breaks of the Tribal Italia catalogue

Gwenan Spearing, known for her perceptive, groove-oriented DJ sets, and more recently as a live performer working with hardware improvisation, launches a new imprint, Phase Space, with Degrees of Freedom, a debut album diving deep into generative electronics, modular systems, and real-time response. Composed and recorded in 2019-2020, the album treats constraint as creative fuel, floating between ambient,
sonic sculpture, and improvisation, mapping Gwenan’s path from rural Wales to Berlin’s outer zones of experimental sound.
Sync opens with a theme on a slow triangle wave, expanding the space as it evolves. Some Pluck explores generative counterpoint using LFOs and Euclidean rhythms. Generator I unfolds in an oscillating time where keyboard and bass circuits cross-modulate. Sleep Pressure is a lullaby for grown-ups, capturing that eerie threshold before sleep, followed by Loper, where time flows fluid and unstable. The closer, Generator II, holds machine heartbeats in delicate equilibrium before unraveling into graceful decay, a soft farewell. (That’s the Universe waving.) Degrees of Freedom is algorithmic music with a pulse: visceral, hand-wired, and built for deep listening.

Odessey One is probably one of the hottest, most appreciated and sought-after bands when it comes to caribbean funky Disco and Boogie music from Trinidad and Tobago.
These super talented musicians recorded a few incredibly good grooves in the Caribbean Sound Studio in the early 80s, which were long considered lost or very hard to find.
It was a bunch of friends around the composer, guitarist and singer Arnold Shuffler, like Nicholas Rostant, Carla Fauche and Colleen Grant, who came together in Port of Spain for a few jam sessions as a studioband.
Only a handful of vinyl copies were pressed from the tapes at KH studios pressing plant, which did not have much airplay at the time.
Sound Essence is more than happy about a renewed collaboration with mastermind Arnold Shuffler and to present this soulful island, disco, boogie synth funk to the music-lovers
community worldwide!

Leeds-based producer Nathan Alexander kicks off KUJE's debut release with PROFETIA EP, a bold four-tracker that drips personality and club-focused energy.
A rising name turning heads from the likes of Blasha & Allatt and NIX, Nathan brings his signature blend of cheeky rhythms and weighty low-end to the table. KUJE001 proudly marks the first chapter of the label's journey, dedicated to unearthing raw, unfiltered talent.
The A-side delivers serious impact: Bound is a propulsive dancefloor tool built for DJs, while Rabbit Hole hits hard with distorted effects and a Blawan-esque edge. On the flip, Tracer floats into spacey, bounding territory with a touch of psychedelic energy, already picking up early support. Closing the release is Technical Itch, a UK-rooted banger that ties together the artist's heritage with the label's forward-thinking intent.
Each track carries Nathan's unmistakable character-playful, punchy, and irresistibly 2-steppable. This is techno with a wink, made for sweat-soaked floors and heads-down moments alike.

Scannoir. After their previous releases as ½GOTT and GOTT on Uncanny Valley and some remixes, the duo returns with a third solo EP, marking their first appearance on the Berlin-Basel-based label Reach Another System. Their passion for EBM, Synth Pop, and New Beat comes to life with a fine array of classic drum machines and FM-synths, topped with Teutonic lyrics and archival samples. The A-side opens with a bang: "Magnet" critiques social expectations and pressures, backed by hard-hitting snares and tom fill-ins in Front 242 fashion. Next up, "Tschernobyl" warps the listener back to 1986 – a musical report of the Soviet nuclear disaster. Equally dystopian, the B-side hymn "Matrix Leben" depicts life inside a structured system that continually shapes and restricts us. The final track "7 Minuten" pushes the limits of restless staccato EBM madness. Mission accomplished!

A cosmic journey in 8 parts: live drums and percussion looped through analog synths and vintage effects, unfolding into lush solos, deep basslines, and otherworldly textures. Anti-Planeting is Cappellato’s most exploratory statement yet—an album born of live experimentation, pressed for deep listening.

Releasing music – or art in general – goes beyond merely showcasing one’s performance skills or pursuing fame. Often, artists feel compelled to share certain works as a way to grow and transition into the next phase of their journey. The material may not always be easily digestible, but it is within these complexities that deeper meanings and innovative ideas emerge. This is what “Anti-planeting” embodies within Cappellato’s current musical landscape: a yearning to break free from a mindset that has long influenced society on this planet. Each track on “Anti-Planeting” carries a title that contributes to the overall narrative, revealing different aspects of the artist’s personal journey. Through these subtle feelings and intuitions, the album unfolds, gradually unveiling a complete puzzle that reflects the artist’s exploration and musical growth. “Anti-Planeting” is a fully realized album consisting of 8 tracks that emerged from these live experiments. The foundation of this project revolves around the use of live drums and percussion samples, which were then processed through an Electroharmonix 45000 looper and a Kaoss Pad II.

"Hiss Golden Messenger delivers anthems for our times."
The Independent

"MC Taylor offers up soulful Dylan-esque country rockers about the impact of the system on ordinary lives."
The Guardian 4/5

Returning to E-Beamz Records, Tommy The Cat has comprised a 6 track EP chock full of varied astute takes on Jungle & breakbeat.

Working with the likes of Cat In The Bag, Unknown To The Unknown & Myor Massiv, Tommy is cementing his name & sound into the Jungle realms as one of the most prolific and, hard working junglists in the scene.

Hardcore fans, the future is here! The Next-Gen Hardcore Vinyl has officially dropped, delivering cutting-edge sound and relentless energy straight to your collection.

Ketapasando presents “Mesetarian Breaks” (KTPV004): a high-speed journey through breakbeat terrains Madrid-based label Ketapasando returns with its fourth vinyl release: “Mesetarian Breaks” (KTPV004) — a 12” compilation that celebrates the raw energy and diversity of breakbeat in all its forms.

Four artists, four unique visions, one common goal: break the dancefloor. Pressed on 180g vinyl with full-color artwork and a protective silicone sleeve, this EP delivers an explosive blend of jungle, technoid, ragga-core, and futuristic breaks.

Each track showcases a distinct approach to rhythm, crafted by key figures from both the Spanish underground and the broader European scene.

THE ARTISTS:

FFF, a cornerstone of the European jungle scene, brings a ragga-core blast soaked in rave heritage and hardcore attitude.

Berman, co-founder of Madrid’s Bellota Dubs, delivers a rolling cut built on tight vocal samples and chopped-up 160 bpm energy.

Jailed Jamie, known for his audiovisual storytelling, blends jazzy melodies with sharp breaks for a cinematic yet floor-ready experience.

Tarek, core Ketapasando producer, makes his vinyl debut with a deep, heavyhitting technoid track forged in the fires of the 174 bpm realm.

“Mesetarian Breaks” is more than a record — it's a love letter to broken rhythms, a sonic dive into the Iberian underground, and a statement of intent from a label fully committed to the breakbeat spectrum. Snippets available in this email.

detectionaudio presents its first excursion as a label entity to ignite a new direction for the imprint. DET001 is produced by UK artist 'Hardacre', and the London man delivers a twisted four-tracker that promises peak-time potency and maximum mind expansion. The 'Destination EP' is a dark and system-crushing statement of intent. Hardacre draws upon heavy influences from halcyon UK underground past eras, whilst firmly exerting a forward-thinking and authoritative sound that pushes all the boundaries of Acid, Breaks and Electro. Expect robust drum-play, warped synth-lines and interplanetary soundscapes.

Loz Goddard steps into new sonic territory on his Physical Education debut—delivering four machine-driven cuts rooted in analog hardware sounds, with high-energy rhythms and dancefloor intent. Leaving behind the sample-heavy textures and live instrumentation of previous releases, this EP leans more into synthesizers and drum machines, channelling the pulse of classic club gear with plenty of added bounce. Subtle nods to the sounds and moods of 90s and early 2000s video games add a nostalgic digital sheen—balancing playfulness, drive and warmth in equal measure.

Four forward-thinking jams from a seasoned producer.

Limited vinyl pressing coming soon on Baldo’s Physical Education label.

Sex Tapes From Mars sister imprint, Hot Plates turns to junglist misbehaving, with chopped and screwed, pitched down and twitchin’ vocals, merging with ragga choruses. It’s hardwired to the dance but swerving every expectation - soulful chants spiral out like smoke in UV, tangled in a fever dream of gun finger pressure and rewound fragments.

The flip is driven by a deep, bellowing bassline, paired with ominous yet soaring strings. Each part contradicts the next, but somehow it holds, glued together with that early jungle lawlessness. Still sounds raw, still sounds vital - as grittily dangerous now as it was in ‘93.

The original release came as a limited white label 32 years ago, now grailed and silly bob on ‘cogs, lovingly remastered and cut loud, restoring the bite while adding clarity and bottom-end heft that rattles ribs.

With the planet in free fall and the dance scattered, the sentiment hits harder: “All we need now is love and unity”.

Proper summer system tackle. Not a repress - a resurrection.

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label ROIR on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the ROIR cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo. This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering.

Müne isn’t just a label—it’s a sonic language carved somewhere between the imagined and the real. Born from the fusion of the Japanese words 夢 (yume, “dream”) and 音 (oto, “sound”), Müne exists as a liminal space where emotion, memory, and sound design blur into something that feels. Less about genre, more about atmosphere. Less formula, more intuition.

The debut release capture that vision into four tracks shaped by hardware grit, dusty grooves, and moods that shift between tension and warmth.

A-side
Jose Daguerre sets the tone with Barbaria, a hypnotic loop-based workout with gritty low-end, dry drums, and a subtly evolving structure. It’s meditative, but with weight. Electro Reunión leans into stripped-down electro mechanics—tight sequencing, foggy FX, and a lingering sense of space. With Patricio Felip collab on the keyboard, both tracks feel tactile, intentional, and refreshingly unpolished.

B-side
Dani Labb brings Resfr0m, a broken-beat track that feels like it’s breathing—loose and raw, wrapped in textures that drift between dreamy and distorted. Finally, Veloz y Raptor by Juan Proeliis & Cohema closes this first release with a bouncy, dark cut full of kinetic energy, tape color, and playful detail.

MÜNE 001 is a declaration of intent: warm, human, and left-of-center. Built for deep listening and late-night systems.

RedNilo is an Italian-Moroccan duo composed of Reda Zine and Danilo Mineo, two musicians based in Bologna linked by a deep passion
for world music, particularly African music. Their ongoing and tireless musical exploration has led them to collaborate for over a decade
on numerous artistic and recording projects. Their new album, eponymously titled RedNilo, features six tracks characterized by a sound
reminiscent of Gnawa, Hassani, Tuareg, and experimental rock. The psychedelic, raspy riffs of the electric guitar, the repetitive rhythms
of the percussion, and the rhythmic-melodic lines of the guembri represent and evoke their journey. The resulting sound material is the
culmination of their journey and their encounters with masters, artists, griots, artisans, and instrument makers in the Draa Valley in
southeastern Morocco, bringing together the two musicians' urban and experimental backgrounds and souls. The album's artwork was
designed by Moroccan artist Aali Wica, initiator and mentor of their spiritual and artistic journey to the southern African continent,
across the long black snake.
Réda Zine, a musician and documentary filmmaker born in 1977 in Casablanca, launched his musical career in the 1990s, contributing
to L'Boulevard, Africa's largest independent festival. Raised in the Casablanca medina, he was introduced to Gnawa music by various
Maallems. After studying at the Paris 3 Sorbonne University, he founded Café Mira, a project that has performed at several international
events.
From 2011 to 2014, Zine was artistic director for Creative Commons (Middle East and North Africa), where he won the #CC10 Korea
award in 2012 with the project "It will be Wonderful," which brought together musicians from over 12 countries. He has also been
involved in exhibitions on music and censorship, participating in events in major cities such as Paris, Buenos Aires, and Seoul. In Italy,
he continued his musical research with the Hardonik project and was part of the Afrobeat group Voodoo Sound Club, recording the
album Mamy Wata. Zine collaborates with artists such as Seun Kuti and has initiated educational activities related to Gnawa music,
contributing to initiatives such as the African Symphony Laboratory for improvisers. He is the co-founder of Fawda, a Gnawa-based
project, and is part of the Gnawa Rumi collective, which explores the music of the Moroccan diaspora in Italy. He directed the documentary "The Long Road to the Hall of Fame" about Public Enemy, which won an award at the Pan African Film Festival in 2015.
Danilo Mineo graduated as a national educator from the AMMnationalscholl music academy in Milan, with a thesis entitled "Afro-Cuban
Music and the Rhythm Section." Over the years, he has attended workshops and masterclasses with international artists and masters
of percussion and drums, including Horacio El Negro Hernandez, Airto Moreira, Trilok Gurtu, Luis Agudo, Arto Tuncboyaciyan, Dudu
Tucci, Dom Famularo, Karl Potter, Rodney Barreto, and Eno Zangoun, exploring the rhythmic language of various musical genres and
styles.
In addition to publishing several educational manuals for percussionists, music critics consider him a versatile percussionist, active in
various musical productions and recordings: Mop Mop, Fawda, Guglielmo Pagnozzi "Voodoo Sound Club," Fabrizio Puglisi "Guantanamo," Panaemiliana, The Mixtapers, and many others, with whom he has performed at numerous national and international music festivals (in Europe and Africa). As a percussionist and side man he has recorded numerous albums and collaborated with Italian and
international artists including: Giancarlo Schiaffini, Gianluca Petrella, Roy Paci, Roberto Freak Antoni, Famoudou Konate, Melaku Belay, Baba Sissoko, Kalifa Kone, Jamal Ouassini, Deda, Dj Lugi, Bioshi.

DVS NME is a Colorado-based Electro producer and DJ originally from Southern California. Active since 1999, he crafts stark, machine-driven music rooted in analog hardware and recorded live in single takes. Influenced by Drexciya, AUX88, and Anthony Rother, his sound blends dystopian textures with precise rhythm programming. He’s released music on respected underground labels like Solar One Music, Transient Force, and Ukonx Recordings, and now Future Tones Rcoeds. A key advocate for the genre, he also curates the long-running Dark Science Electro podcast, supporting global Electro since 2010.

1. Beam
A slow-burning opener built around a TR-606 groove, chopped vocal fragments, and delicate string flourishes. At 116 BPM, it's the most restrained cut on the EP—staccato and skeletal, but quietly emotional.

2. Carveout
Driven by a classic four-on-the-floor pulse, "Carveout" rides a surging bassline and tightly layered synths. Functional on the surface, but subtle shifts in tone give it depth beneath the structure.

3. Debt Trap
The most club-oriented track on the record. With a jerky low-end and nimble 606 programming, "Debt Trap" combines dancefloor impact with off-kilter synth work that refuses to settle.

4. Ratchet Effect
A standout cut that channels DVS NME's signature sound—sharp, modular arpeggios, machine-funk rhythms, and intricate modulation. At once clinical and soulful, it’s the EP’s most complex and defining moment.

5. Land Reform
TB-303 acid lines coil around melodic string pads and skittering hi-hats in this mid-tempo closer. "Land Reform" balances raw rhythmic motion with introspective synth textures, ending the record on a reflective note.

After careful consideration, Black Angus Records has changed its name to BKA Records – short for ""Beats Kickin' Again."" The label relaunches with an EP that fully reflects its roots: four impactful tracks by Italian artists who are now well established in the international house music scene. The first track comes from DJ Soch, founder of the label. It's marked by a powerful beat, driving bassline, and a flowing synth solo that builds tension and energy, aiming straight for the dancefloor. Next is Issam Dahmani, a young DJ and producer, now also a partner in the label, with a warm, full-bodied track that in some sections recalls the sonic approach of Kerri Chandler. A track that's hard not to play. The third cut is by Manuold, a seasoned producer from Palermo, who delivers a sound inspired by early '90s New York house, dreamy and atmospheric, with a strong groove throughout. Closing the EP is Nicholas (of Aura Safari) with a classic flavored production pulled from his archive: gospel touches, piano house elements, and swinging rhythms come together in a track that perfectly embodies the essence of house music.

First things first, I want to thank Nectax for his patience, because he's been regularly sending me his music for well over 2 years & I was so swamped with other music being sent to me on a regular basis from other people, that I never made the time to actually check most of what he was sending me or to properly get back to him in response to the tracks of his that I did check. It's hard making time for listening to demos submitted for Future Retro London, amongst all the other commitments I have to take care of on a day-to-day basis, but he kept at it until I was finally able to realise what I had been sleeping on for so long.

Now that's out of the way, I was first made properly familiar with his music through his release on Over/shadow, as well as seeing some of his sets in London and hearing other people supporting his music, which made me more vigilant towards any music he'd send to me.

He sent me "London Bridge" and I really liked it, so much so that it gave me some ideas that I wanted to add to it & we turned it into a collab. He also sent me "Akaizen" which to me, is my favourite track of his that I'd heard of everything he'd sent me (that I actually made effort to check!), which Harmony has done a great job remixing. And then to complete the release, he met up with Champa B (who's based near him) to work on "Prisoners Of Psilocybe", and like that, it all came together in the end!

Big thanks to Nectax for his music (& again, sorry for being so consistently slow to respond!), to Harmony for his quality version of "Akaizen" & to Champa B for collaborating on "Prisoners Of Psilocybe".

Detroit-based electronic music producer and DJ Rebecca Goldberg presents, Dancing Dreamland, a four-track journey of raw techno, electro, and acid. The EP was created during her 2024 artist residency at Modja Modja House in Margate, UK.

Drawing inspiration from Margate’s eclectic soundscape, Goldberg crafted the EP using field recordings captured around the coastal town: its prominent resident seagulls, carnival games, and bustling seaside energy. These organic textures were fused with analog hardware during sessions in renowned artist Yuri Suzuki’s studio, where she was granted access to a range of vintage and modern synthesizers and drum machines.

The result is Dancing Dreamland, a gritty and hypnotic blend of rhythmic percussion and experimental textures. Each track reflects Goldberg’s signature Detroit-rooted minimalism while embracing the playful chaos of the British seaside. The EP pays homage to the cultural crossover between the industrial sound of techno and the natural, atmospheric noise of a historic resort town in artistic transition.

Drawing power from dark hypnotics, BEC lands on Intrepid Skin with the dizzying Dawn of a New Dimension EP.

As a beloved DJ and owner of the EMBARGO imprint, BEC's aesthetic has been honed over years spent immersed in sound. A meticulous producer who has worked with industry giants such as Roland and Novation, her tracks carry a delicate equilibrium of sonic qualities built on high pressure drums and weighty basslines.

Title track opener sets the tone without hesitation, diving straight into bouncy hard techno drums that never let go whilst frantic alarms and trippy vocal cuts swirl above. 'In Motion' leans further into the harmonic aspects of BEC's sound, driven by an immersive melody over sparse percussion. Fragments of electro linger within 'No Longer My Amore', a melancholic spin through emotive vocals and vast sonic layering. Closing track 'Who Said Rich Means Money' takes us back to the warehouse with a storm of heavy drums and ricocheting glitches.

Brandishing expertly layered sonic tapestries, BEC explores a range of emotional resonances, each geared towards tapping into the most intense dancefloor moments.

Hi girls! Don't tell your boyfriend you need this record. It's so dirty! He can't compete.

With his second release, "Wrong Friends Keep Colouring My Days EP," Easy comes through with an audacious two-tracker on the Doublecross XX imprint. And you thought he would change his style? Think again. Side A is a gritty breakbeat track influenced by Rotterdam gabber and early breakcore. The B-side is a tribute to the raw teknival sound of the '90s, combined with 2020s-style hardcore footwork.

A fish dreams in a drum machine. Hidden Operator surfaces, soaked in fog and radio hiss. The fever escapes. Kontra-Musik and Kess Kill hold hands in a burning telephone booth--two labels dancing backwards through a mirror, cackling. This is a record made of riddles and ruin. Dub coughs in the corner. Proto techno slips on oil. UK hardcore gurgles something unspeakable before melting into a slo-mo house groove with a hangover. Lo-fi? No-fi. High-why. Slightly wrong but utterly intentional. Basslines stagger like drunks in a maze. Snares in existential crisis. Synths whispering conspiracy theories. This is an apparition. Half dungeon, half dancefloor, half pigeon coop. Understanding is colonialism. Twitch instead.? KONTRAKESS01. Carved in vinyl. Released into the ether. Confuse your neighbours. Alarm your pets. Send postcards from the inside.

Backspin's new release comes from Obscure Shape, delivering a deep and versatile techno EP that lives up to its title: 'Zwei Gesichter' (German for 'Two Faces'). Across five tracks, the EP explores the tension between raw force and emotional depth, marrying the label's Hardgroove roots with a more introspective edge.

The A-side presents Obscure Shape's first face: It opens with 'Zwei Seiten', a no-frills banger that hits with immediacy and drive. 'Im Angesicht Der Zeit', the single, leans into groove and movement, offering a more fluid, time-aware flow. 'Die Haut In Der Ich Wohne' pares things back into a minimalistic, loopinghypnosis, evoking the idea of inhabiting one's own skin. On the B-side, presenting the producer's second face, 'Spuren Des Werdens' features producer AMIYE and introduces more melody and saw synths, a reflection on growth and transformation. The closer, 'Von Hoffnung Getragen' - also a collaboration with AMIYE - lifts off with ethereal vocals and a bouncing rhythm, embodying the hope that carries us forward.

With the 'Zwei Gesichter' EP, Obscure Shape crafts a powerful narrative through groove, form and feeling, perfectly aligned with Backspin's evolving reinterpretation of early 2000s techno.

LIMITED 200 NUMBERED COPIES (poster and stickers included)

Experience the hard and dark, electrifying electro and break vibes of The Electro Guilde VI. The sixth release in this iconic VA Electro series.
A true collector's gem, limited to just 200 numbered copies. Don't miss out, no repress ever!

Romanian producer and DJ Andrew Red Hand has carved a unique niche in the world of underground electronic music.
His work stands as a tribute to the raw energy of Detroit techno and electro, yet it retains a deeply personal, emotional tone that gives it timeless depth.
Over the years, Andrew has released a steady stream of high-impact records across some of the most respected labels in the scene. His catalog includes standout EPs on Detroit Underground, Matrix Records Detroit, Twilight 76, and others —each showcasing his mastery of analog-driven textures, sharp 808 rhythms, and melodic melancholia. His work with Diffuse Reality, Subsonic Release, and Shipwrec further solidifies his reputation for pushing boundaries while staying true to the roots of electro.
This EP “For My Father EP” marks his second appearance on Time Passages. He first contributed to the label’s V.A. compilation with the track D2 – “In the Cemetery”, remixed by the legendary Hardfloor. Now, he returns with a full four-track EP, offering his most focused and expansive vision yet. Notably, the B1 “Gritty Bass” is a remix from another icon of the scene—DJ Hell— .

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.”

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

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.

When billy woods released Today, I Wrote Nothing ten years ago, it was an unexpected departure from a rapper who was just starting to make waves in the indie rap scene. After spending the earlier part of his career in the wilderness, woods had managed to crawl out of obscurity with the minor success of 2012’s History Will Absolve Me. Dour Candy, 2013’s collaboration with underground legend Blockhead drew accolades, which only increased with Armand Hammer’s debut Race Music.

Then, woods dropped out of sight for two years before returning with Today, I Wrote Nothing, a record that deviated significantly from what had come before. Where Dour Candy had been concise and focused, TIWN was a sprawling 24 tracks. Where History Will Absolve Me was anchored by hard-hitting beats, anthemic songs, and a couple high powered features, TIWN was comprised of short vignettes, quietly eclectic production, and the only guests were his Backwoodz label-mates. Only one video was released; the claustrophobic “Flatlands”, shot on a shoestring budget in a Brooklyn housing project. Reviewers didn’t know quite what to make of the record, and in many cases, neither did fans.

As is often the case for woods’ albums, many perspectives shifted as the years passed. Listeners came to see the sad, quiet beauty of Today, I Wrote Nothing; a road trip album that doubles as a meditation on life’s journeys and death’s hiding places. The album’s power is in it’s intimacy, it’s insistence on holding your hand through the darkness. Now, TIWN is considered one of the more unique and vital records in woods catalogue. The dynamic woods created with TIWN vis-a-vis History Will Absolve Me and Dour Candy is one that would come to define his ouerve; constant experimentation, a refusal to be pigeonholed, and an unwavering search for the emotional heart of his subject. For us at Backwoodz, being able to repress this album on it’s ten year anniversary is especially sweet, because we remember how long it took us to sell that original run of 500. To everyone who copped one of those and helped us keep the lights on, this is for you too, we couldn’t have gotten here otherwise.

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 <<<

"Anti Todo" is Eskorbuto's most celebrated album, recorded in the shortest time imaginable and released in 1985. It shows what the Spanish punk band did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. A new remastering for this edition has given the album the richer, more vibrant sound it always deserved. We can once again enjoy the urgency, simplicity, and rage of this refreshed "Anti Todo", a true classic recorded at Eskorbuto's peak of their creativity and energy. It includes a large poster and insert with notes. DESCRIPTION 1985 was a landmark year for punk rock in the Basque country, and possibly for the whole of Spain. Punk merged with the Basque Radical Rock (Rock Radikal Vasco or RRV) movement, although this was not necessarily always the case. For instance, Eskorbuto invariably kept their distance from the movement and everything related to it. Hardship was part and parcel of Eskorbuto's life and musical career. All their albums were recorded in the shortest time imaginable, partly due to tight budgets (studios were expensive, labels were close-fisted), and partly because Josu and Jualma needed to spend the money on other things_ When it came to recording "Anti Todo", Eskorbuto stuck to what they did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. It was their best record and we have to ask: what would Eskorbuto have been capable of if they had more time, a bigger budget, and tighter control? The song 'Tamara' was practically composed on the spot in the studio in less than two recording days, as was much of 'Ha llegado el momento'. The experienced sound technician did an outstanding job, but a new remastering for this rerelease has given the album the richer, more vibrant sound it always deserved. We can once again enjoy the urgency, simplicity, and rage of this refreshed "Anti Todo", a true classic in our musical history, originally released in 1985 at Eskorbuto's peak of their creativity and energy. This edition of the album includes a large poster and insert with notes.

“Mi Pez Murió Anoche” is the first full-length album by Brayan Valenzuela, marking a definitive shift in his sound from the raw, hard-edged techno of his early work toward a more intimate, textured, and emotionally charged form of electronic music. Released on the Detroit Underground label, the album is a deeply personal sonic exploration, inspired by the mutable and emotional energy of Pisces, shaped by fractured rhythms, ethereal melodies, and a sensibility that blends the introspective with the physical.

Throughout the album, Brayan weaves in elements of jungle, breakbeat, and ambient, maintaining an underground aesthetic while embracing a freer, more narrative approach to composition. The intention is clear: to craft a sonic experience that flows from beginning to end, but also includes moments built for the club. “Rav,” for example, stands out with its driving rhythmic structure and raw energy, designed for the dancefloor, while tracks like “All I Need Is Peace” and “Nancy, She Become a Groupie” explore more contemplative and emotional territory.

“Mi Pez Murió Anoche” is a statement of identity. A work where the visceral meets the cerebral, where nostalgia intertwines with rhythm, and where personal reflection opens into collective experience. It’s an album that resists categorization, aimed at discerning listeners and DJs seeking depth without compromising impact. For anyone following the evolution of forward-thinking electronic music, this is a vital release.