Cerca:helm

London-based experimentalist Luke Younger (a.k.a HELM) returns to PAN with ‘Olympic Mess’.
Where his previous effort, 2014’s ‘The Hollow Organ,’ dealt in dense, distressed sonics, ‘Olympic Mess’ is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in “I Exist In A Fog” and “Outerzone 2015,” where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of “The Evening In Reverse” and “Fluid Cloak” offer no such relief, while the title track and “Don’t Lick The Jacket” are mineral, multilayered abstractions twisting around a brittle pulse.

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.

Acclaimed singer/songwriter and multi-instrumentalist Amy Helm is set to release What the Flood Leaves Behind (Renew Records/BMG) on June 18th. Produced by Josh Kaufman (Taylor Swift’s Folklore, Bob Weir, Bonny Light Horseman) who is also featured on piano, guitar, and mandolin, the record brings Helm’s powerful, emotive vocals to the forefront. After recording 2018’s This Too Shall Light in Los Angeles, Helm returned home to Woodstock and Levon Helm Studios to record What The Flood Leaves Behind. The historical significance of returning to that special place built by her father clearly resonated with Helm. “Going back to the place where I learned so much about how to express music, how to hold myself in music, how to listen to music,” she begins, “It was humbling in a funny way. I could see clearly where I came from and where I am now in my life. I was singing from a different place now and for a different reason.”

Mutant jungle forms, hazy glitch experiments and trance inducing downtempo collide with sharp percussion and dense low end on this latest Alter 12'. Helm's recent 'World In Action' EP for The Trilogy Tapes is reworked by a whole host of favourites including Laurel Halo and Parris who offer up two distinctly different takes on 'Blue Scene'. No Symbols boss Beneath turns his hand to title track 'World in Action' with that typically murky, deconstructed club aesthetic whilst Parisian mainstay Low Jack gets deep on the A2, his five and a half minute version of 'Candy' sounding like a cross between Nuno Canavarro and Whitehouse. Delivering what might well be the records most subdued moment, Brussels' Sky H1 slows 'After Dark' way way down with some barely there auto-tuned vocals helping to bring things into the fold.'

Following 2017's 'Path of Ruin', DJ Richard returns to Dial with his much-anticipated sophomore LP, 'Dies Iræ Xerox'. Undoubtedly one of the most distinctive and fully-formed electronic producers in recent memory, DJ Richard imprinted the sound of a bubbling US underground with his label, White Material, founded in 2012 alongside Young Male. His first solo LP for Dial, 2015's 'Grind', found DJ Richard delicately establishing a discipline between his East Coast noise heritage and a physical, emotive tradition of house music, mastered during an extended stay in Berlin. Now firmly settled once more in his hometown of Providence, 'Dies Iræ Xerox' is a personal and uncompromising journey that finds the Rhode Island native in reflective form, journeying without compromise into both his creative influences and personal psyche. In part adapting its title from the Latin hymn 'Dies irae', otherwise known as 'Day of Wrath', 'Dies Iræ Xerox' melds the physical and psychological aspects of DJ Richard's production ethos in sharper, more widescreen vision than before; the oceanic swells of ambience yet more powerful, and the rigid basslines sharper still. With the chaos of the Berlin club scene an increasingly distant memory, the album is enriched with a contemplative, even brittle tone, as informed by film soundtracks and literature as the pulse of city living. Still, this is new material from DJ Richard, a touring DJ as distinctive as any other to be found behind the decks at some of the world's finest clubs and festivals. On 'Dies Iræ Xerox', the artist finds the space to write 'the records I really want to play', and each suggests a template for genuine dancefloor transcendence, beginning with the electrifying 'Vanguard' . The sludgy yet sophisticated crawl of 'Tunnel Stalker' sets the tone for the menacing yet somehow melancholy EBM of 'In Broad Daylight', while the record draws to a breathless close with the affecting, drum machine lethargy of 'Gate of Roses'. Drawing little distinction between his more physically rousing material and searching soundscapes, 'Dies Iræ Xerox' instead finds a passage of catharsis throughout both. 'Dissolving World', the album's breathtaking centerpiece, is a choral feature hypnotically overwhelmed by walls of electronic feedback, forging a dramatic link between old ways and new. On the bold and near-beatless 'Ancestral Helm' and 'Final Mercy', DJ Richard seems to grant both music and raw emotion the ability to simply float in the air, brilliantly, poignantly unresolved. If 'Grind,' inspired by the weathered coastlines of Rhode Island, was a record concerning "the border between civilization and the ocean," then 'Dies Iræ Xerox' is an unapologetic follow-up concerning that between macabre obsessions and fear of death. Produced during a murky, transitional period, DJ Richard found himself particularly drawn to Medieval European art and mysticism, fascinated by depictions and philosophies of the antichrist and end-times. Greatly influencing the uncompromising, apocalyptic tone of the album, these investigations have created an engaging and personal vision of the 'Day of Wrath.'

Based in Cornwall, Blind Yeo emerged from the isolation of lockdown. Built as an open collective, the project brings together musicians, visual artists and performers, developing a practice rooted in improvisation, live energy and shared creation.
The Lemoine Point, their debut album, was recorded on a disused airfield near St Agnes. The title refers to a hidden geometric centre where lines converge, a metaphor that runs through the record as past, present and future meet within a single moment.
Much of the album was captured live by a core ensemble including Sam Pert, Phil Self, Henry Greenham, Philippa Blum, Jake Sheridan, Will Greenham and Anousk Helm. These recordings are balanced by more intimate sessions, shaping a sound that moves between reworked folk traditions, electronic textures and raw, organic energy. Across the album, fragments of stories and emotions intertwine, exploring themes of love, duality and disorientation in time. Rooted in the Cornish landscape yet open in form, The Lemoine Point unfolds as a space where place, people and memory converge into a fluid and immersive whole.

[GER Seit ihrer Gründung im Jahr 2014 haben sich These Wicked Rivers zu einer der fesselndsten Bands der aktuellen Rock-Revivals in Großbritannien entwickelt. Die aus Derby stammende Gruppe schöpft aus dem reichen Erbe von Rocklegenden und Blues-Größen und hat sich mit ihrem unverwechselbaren, vom Blues geprägten modernen Rock einen Namen gemacht. Dank ihrer Live-Auftritte, die oft eine fast spirituelle Tiefe erreichen, und ihres zeitlosen Songwritings hat die Band in den letzten Jahren enorm an Fahrt aufgenommen. Ausverkaufte Konzerte in Großbritannien, den Niederlanden, Frankreich und Deutschland sowie der große Kritikererfolg ihres zweiten Studioalbums "Force of Nature" (Platz 3 der UK-Rockcharts) haben ihren Ruf als Live-Act, den man unbedingt gesehen haben muss, gefestigt. Das Jahr 2026 verspricht ein Meilenstein für das Quintett zu werden: Im Herbst erscheint ihr mit Spannung erwartetes drittes Album "Fire and Folklore". Aufgenommen wurde das Werk in der Heimatstadt der Band, Belper in Derbyshire, im Heimstudio von Andy Sneap. Unter der Regie des Grammy-Preisträgers Sneap (Judas Priest, Saxon, Megadeth) und Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) ist das bisher ausgereifteste Album der Band entstanden. "Fire and Folklore" geht über den typischen ,Wizard-Blues-Rock"-Sound hinaus und erschließt neue klangliche Territorien; dabei werden Country-Einflüsse und Southern-Rock-Flair integriert, ohne den für die Band charakteristischen Groove und Soul zu verlieren. Zudem ist die aus Derby stammende Country-Hoffnung Kezia Gill als Gastmusikerin auf dem Album vertreten. Geliebt von einer rasant wachsenden Schaar von Fans und ausgestattet mit einem Album, das den Sprung auf die großen internationalen Bühnen anvisiert, stehen These Wicked Rivers bereit, neue Höhen zu erklimmen. Seid dabei, klingt klasse. CD mit zwei Bonustracks, LP als Purple oder Black Vinyl! Established in 2014, These Wicked Rivers have emerged as one of the UK's most compelling forces in the recent rock resurgence. Hailing from Derby and drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock. With a reputation for soulful-bordering-on-spiritual live performances and timeless songcraft the band have built unstoppable momentum in recent years. Sold-out shows across the UK, the Netherlands, France and Germany have cemented their reputation as a must-see act, bolstered by the critical acclaim of their second studio album 'Force of Nature' (#3 UK Rock Chart). 2026 is set to mark a landmark chapter for the quintet, with their hotly-anticipated third album 'Fire and Folklore' set for release in autumn 2026. The record was recorded in the band's hometown of Belper in Derbyshire, at Andy Sneap's home studio. With the Grammy-winning Sneap (Judas Priest, Saxon, Megadeth) and Colin Richardson (Slipknot, Massive Wagons, Those Damn Crows) at the helm, it's the band 's most accomplished record to date. Expanding beyond their signature wizard-blues rock sound, Fire and Folklore pushes into new sonic territory, blending in shades of country and Southern spirit while retaining the groove and soul that defines the band. The record also features a special guest appearance from fellow Derby artist, country starlet Kezia Gill. Loved dearly by a rapidly growing "Family" of fans, and armed with a homegrown record with its sights set firmly on the global stage, These Wicked Rivers are poised to reach new heights. Jump on in and enjoy! CD contains two bonustracks, LP comes in Purple or Black Vinyl!

STAR TREK: STRANGE NEW WORLDS is based on the years Captain Christopher Pike manned the helm of the U.S.S. Enterprise. The series will feature fan favorites from season two of STAR TREK: DISCOVERY: Anson Mount as Captain Christopher Pike, Rebecca Romijn as Number One and Ethan Peck as Science Officer Spock, and follows Captain Pike, Science Officer Spock and Number One in the years before Captain Kirk boarded the U.S.S. Enterprise, as they explore new worlds around the galaxy. Drivers: * Focus track scored written, produced and conducted by Emmy Award winner, and 3 time nominee, Jeff Russo (The Man Who Fell To Earth, Legion, Fargo, Oslo, The Night Of, Umbrella Academy, Altered Carbon, Star Trek: Discovery, Short Treks, Strange & New Worlds, Picard series, Love & Death) * Jeff is a founder, lead guitarist and songwriter of 2x Grammy Award nominated, multi platinum rock band, Tonic. * Russo's main theme is a modern adaptation of Alexander Courage's original Star Trek theme, and includes a theremin as a way to foreshadow Courage's vocal arrangement of the theme. * Tracks taken for Season 2, episode 9, titled, Subspace Rhapsody

Scientist & J Gabriel’s “Fly Again” get’s the heavy club treatment with minimal dub techno icon Steve O’Sullivan at the helm.

Ismael Pinkler lives in Buenos Aires. Belly Dance Services head Nick Hanzo in Vienna. Turns out the exact midpoint between the two is somewhere in open ocean. So they abandoned the plan to meet on Earth at all, and met on planet 126 in outer space.

It turned out to be a strange, hospitable little world — spinning at its own pulse, 126 beats per minute, changing landscape every few kilometers, as if it couldn't decide what kind of planet it wanted to be either. Ismael and Nick wandered it together, letting each new terrain talk them into a different song, until ten tracks had quietly assembled themselves. What they brought back drifts somewhere between shoegaze, techno, ambient, trippy tribal house and pop — grounded and gravitational, emotional and mental, to put it in terms Earthlings might understand.

Now, speaking seriously: Ismael and Nick built Planet 126 by passing sounds and ideas back and forth across the ocean, night after night, for eight months. The entire process — composition, vocal recording, production and mixing — took just eight months, a dream scenario for any electronic musician. The collaboration stayed positive, proactive and fresh throughout, letting the project move forward effortlessly. All tracks were written and produced by both musicians together; Nick wrote the lyrics and recorded the vocals, Ismael handled the mix. No samples, no references — just two people building a world from scratch.

Planet 126 also marks a milestone for Belly Dance Services: the label's 30th release, and likely its last. BDS began with BDS001, a vinyl EP by label founders Hanzo & Yaman, and has been solely helmed by Nick Hanzo for the past five years. Now it comes full circle — laid to rest with a big bang: a double vinyl gatefold album co-produced by Ismael Pinkler and label head Nick Hanzo.

The tracks on the upcoming Boysonic release are a snapshot of a period largely absent from the discussion around Romanian electronic dance music: the first half of the 1990s.

Boysonic’s music was made in the face of considerable adversity, in a Romania still reeling from the aftermath of the 1989 revolution, spiralling inflation of over 200%, and the violence of the early-1990s Mineriads. In the gatefold photos, one of the band’s members can be seen performing live wearing a miner’s safety helmet, a piece of stagewear, but also a charged symbol of the period.

The original music on Madhouse was made in Bra?ov during 1993–1994. Situated away from Bucharest’s political and cultural centre, Bra?ov gave the project its own slightly detached rhythm. Classically trained in piano and active in local radio, Mihai Barb developed Boysonic as a largely one-man act, often joined live by a changing cast of dancers and vocalists. In the absence of a developed club circuit, early performances took place in pre-1989 concert halls, seaside resorts and local entertainment circuits organised around regional radio stations.

Agnostic in genre and unusually fluid in approach, Madhouse moves through downtempo pop burners, KLF-type UK house, boomy breakbeat, new beat and acid-leaning experiments. The material reflects a short-lived moment before the Romanian mainstream/underground divide had fully taken shape, when electronic music lacked infrastructure but not imagination.

Sampling was used generously, with drum loops, vocal fragments and preset banks repurposed through software such as ProTracker and further processed outboard.

The release comes as a 2xLP gatefold.

Remixes are from Benedikt Frey, Boysonic, Cosmin TRG, Flore of Khidja, Romansoff, and Tankwart.

On Oath's latest, the imprint keeps the jazz-fuelled atmospheres going with 'Seven Dogs', an EP that serves up an astonishing excursion through deeply hypnotic melodies and idiosyncratic grooves, courtesy of an iconic link-up between Rteph88 aka Robin Taylor-Firth and Steve Cobby.

Taylor-Firth and Cobby are musicians whose careers are so richly storied, broad-ranging, and impactful that it's difficult to summarise their output and impact in so few words. Both Taylor-Firth and Cobby firmly established themselves in the 90s, being involved in some of the era's most prominent and celebrated groups and for releasing some truly era-defining records. As such, their discographies reach far and wide, from house and techno cuts through to downtempo, drum'n'bass and leftfield, there is little that is left uncovered, and this spirit remains with them both as they continue to explore the outer parameters of their sounds.

Taylor-Firth, a songwriter, arranger, and producer, is perhaps best known for his long association with Warp Records and its sublabel Nucleus, and for his work as a member of Nightmares on Wax, where his signature keyboard playing style became a staple of the group's legendary sound. Alongside this, he has hundreds of songwriting and arranging credits on a dizzying array of records, and was a member of house music group Anon and Pio Bo alongside Richard Barratt - to name but a few selected highlights of his extraordinary career. Cobby's career is distinguished by his multitude of releases under a variety of aliases, along with his helming of a number of imprints, including Pork Recordings and his most recent label Déclassé. Experimenting with a wide variety of genres and sounds, perhaps his best-known work was with the duo Fila Brazillia alongside Dave McSherry, who released a plethora of immersive and innovative records in the 90s and beyond.

'Seven Dogs' represents a shared passion, vision, and musicality, two languages borne of similar spaces but reaching through time, space, and existence in creating a richly veiled musical experience that draws from lifetimes spent within the nucleus of music's soul. The EP speaks of the present as such as the past and indeed future, hinting with motifs that feel right at home within sun-kissed skies and within the walls of the chill out rooms. 'Early Doors', the EP's opener, displays the core fundamentals of the unfolding experience, namely the intrinsic relationship between keys and drums and how they express tone and mood. The piano gently caresses, ethereally floating with space to grow, as the drums lightly swing into life, providing an engrossing and rhythmically diverse groove that nods as much as it dives. The title track lands next and leads with a more driving feel. Sonically, the track leads with an oozing bass sequence that worms through the mid range before retreating under an array of compelling piano chords. The drums once again provide a strong backbone, allowing the melodic elements up top to fully express themselves - in a myriad of ways, murmuring and clamouring all at once.

'Visiting Hobo' brings the groove down a few notches. Slightly sombre in its delivery, the piano and bass interchange above a sparse yet hard-hitting groove, with as much emphasis placed on the emptiness as on the melodically full sections. The piano has a certain tonality here, with the notes containing a large amount of textural reverb that helps the track feel alive, almost growing out of the speakers. Wrapping things up is 'Titled', which begins with the keys and an array of whimsical features. The drums allow themselves time to grow into being, but when they do, they simmer within an enriching melange. It's a fitting end to a record that abounds with sonic consideration, environmental and emotive feeling, where two technicians bring their best and serve up four tracks of such sublimeness and thoughtfulness. One to drift deep within, on those hot summer days….

Layne & Chang might not be household names to everyone, but in the underground they’re long-established fixtures. Chang—who’s released music under a string of aliases over the years—was tipped by Urb magazine as one to watch back in the mid-’90s and has been embedded in dancefloor culture ever since. Alongside him, Layne Fox (formerly San Francisco, now back in Florida) brings deep disco credentials, having helmed the cult-loved Disco Dimensions label and recording as 40 Thieves—best known for the underground anthem Don’t Turn It Off. In short, the boogie lineage on this record runs deep.

And that’s before you even get to Dan Tyler. As one half of the Idjut Boys and co-founder of Noid Recordings, Tyler helped lay the groundwork for London’s edit culture long before it became a global phenomenon. His involvement here only strengthens the package.

“Shake Your Body” opens the release with a locked-in, funk-driven groove—swirling melodic lines, subtly acidic textures, warm vocoder touches, and tight, punchy drums all dialed for peak-time movement. On the A2, “In The Desert” shifts the mood into something more transportive: a hazy, late-night burner equally suited to open-air parties, after-hours sessions, or home listening with the lights low.

Flip to the B-side and Dan Tyler delivers two cosmic reworks that push things further out. Psychedelic, elastic, and built for serious systems, both cuts hit that sweet spot between heady and physical—already circulating among a handful of tastemaker DJs and primed for heavy rotation as festival season ramps up.

A strong, floor-ready release that sits comfortably in the Whiskey Disco catalogue—rooted in disco, but reaching well beyond it.

2x12" Vinyl

Limited Edition 500 Copies

Remastered

Inside Out Cut - Starlight Coloured Vinyl

Original, Oliver Lieb, M.I.K.E. Push, Moon Project, DJ Taucher remix

The iconic electronic music masterpiece “The House Of House” by Cherrymoon Trax is set to make an electrifying return to the scene. Originally introduced in 1994, this timeless classic, helmed by the talented trio Axel Stephenson, Yves Deruyter, and Franky Kloeck, has been revitalized in a new remastered wax format.

The eagerly awaited 2 x 12" double vinyl features mixes that have never graced vinyl before, alongside the cherished original and other mixes that have left an indelible mark over the years. As an added treat, collectors will also find the inclusion of the original tracks “Let There Be House” and “Conflictation.”

This exclusive edition is strictly limited to just 500 copies worldwide and features a unique Inside Out cut, pressed on stunning Starlight vinyl — a distinctive black colour with vibrant coloured speckles. The striking vinyl perfectly complements the sleeve, making this a truly special collector’s edition.

But this release marks more than just a return to the past. “The House Of House” also introduces a new upcoming single featuring the return of Axel Stephenson, bringing a legendary name from the original Cherrymoon Trax era back into the spotlight.

Brace yourselves for the resurgence of a true electronic music masterpiece — and the beginning of an exciting new chapter. Only 500 copies available — once they’re gone, they’re gone.

The East Bay's mighty Charger has returned with five new songs on 12" vinyl... Last Call is on its way from Pirates Press Records just in time for your motorcycle trip to hell! Charger members hail from legendary punk bands such as UK Subs, Rancid, and Jello Biafra & The Guantanamo School of Medicine, just to name a few, but make no mistake, this band is its own entity with its own sound forged together! The band laid down these tracks in July 2025 at Studio 2200 in Sausalito, CA - formerly known as the Bay Area's legendary Record Plant - with Chris Dugan at the helm

Put this record on. Release your release.

We are honoured and excited to share the fourth Dream Space EP with the world: Domenic Cappello - Celestial Wave.

For more than three decades, Domenic Cappello has been at the helm of Subculture - the innovative and vastly influential Saturday night at Glasgow’s Sub Club. A true master DJ with deep rooted influences from Detroit & Chicago, Dom has consistently pushed things forward over the years and remains at the cutting edge of modern dance music.

Throughout the 90’s and early 2000’s, he put out high-quality records under various monikers on labels such as Soma, 20:20 Vision & Seventh Sign. Fast forward to recent years and Domenic has been on nothing short of a hot streak - releasing music under his own name on Craigie Knowes, Clone Royal Oak and his outstanding ‘Basement Philosophy’ LP on Alien Communications.

He brings the heat once more for this record; blurring the lines of house, techno and electro to deliver four awe-inspiring cuts of electronic music.

‘The Secret Moon Party’ sets things off, nodding to a certain Highland gathering by some of Scotland’s finest purveyors of quality tunes. A warm, gritty bassline carries the track, evolving into a symphony of precise sound design that is in equal parts playful and euphoric.

Dom’s knowledge of the dancefloor shines through on ‘Acid & Love’. This early night floor filler is the alchemy of just about everything you want to hear when things are getting going. Pure warmth and bliss throughout, also holding its place played deep into the late hours.

‘We Loved Your Ears (in memory of Keith)’ is a heartfelt tribute to the one and only Keith McIvor aka JD Twitch of Optimo. Dom wrote this track as something he thought Keith would have loved, and for this one, we’ll let the music do the talking.

Keith was, and continues to be, an enormous inspiration for us and so many others. In his memory, all proceeds from the digital sales of ‘We Loved Your Ears’ and 25% of all vinyl sales will be donated to Beatson Cancer Charity and The Scottish Brain Tumour Research Centre of Excellence.

Closing the EP is title track ‘Celestial Wave’, which does exactly what it says on the tin. A beautiful piece of music and fitting soundtrack for star gazing, moon dancing and dreaming.

The helm of Sea Records is back firmly in the hands of its captain: Fisherman is ready to set sail with the brand-new release Dolphin SEA 005!
Get ready for a unique sonic journey. This new record features 4 killer tracks focused entirely on progressive and hypnotic sounds, without ever losing sight of the main goal: a devastating groove built to shatter the dancefloor.

If Sylvie’s New Season were a movie, Ben Schwab would be the auteur, screenwriting and directing the vision, articulating his story through a cast of actors. In truth, New Season is a record of the freewheeling country-rock variety, Sylvie’s first with Ghostly International, and it finds the Los Angeles-based artist at the helm of a rotating ensemble, arriving at pure, joyous expression and renewed faith in the face of hardship. It’s a rare and refined kind of musical gesture, both intimate and all-embracing, self-produced, penned singularly, delivered collectively. An invitation to find beauty in life's trials and to trust that even the longest winters can give way to a new season. Like Sylvie’s self-titled effort, New Season still rings of the sunny, lighthearted, and smooth 1960s and ’70s pop, rock, and country sonics that have become the project’s signature. While Schwab constructed that 2021 project mainly with friends in his orbit, stemming from his time playing in Drugdealer’s band and other peripheral projects, he has broadened the scope tenfold for his full-length debut, New Season. The shapeshifting collective executes on an alluring mix of nostalgic and modern sensibilities, recalling the free-spiritedness of Laurel Canyon and bohemian-era Nashville with a contemporary sheen.

From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.

From deep in the hard funk pocket, the Winston Brothers return to Colemine after four years with a second helping of sounds rooted in horn-heavy, 70s-style soul cinema, taking cues from the soundtrack work of Issac Hayes, Willie Hutch, Roy Ayers, and JJ Johnson. Helmed by multi-instrumentalist/producer Sebastian Nagel and longtime collaborator Lucas Kochbeck on drums, Sweets serves as a timely reminder of how Hamburg, Germany’s music scene helps shape and influence today’s soul sound.
Ultimately, bringing musicians like Kimo Eiserbeck (sax and flute) and Hans Stephan (trumpet), alongside some additional drum contributions by Max Whitefield (née Weissenfeldt), demonstrates the close-knit nature of these musicians. From influential bands like Bacao Rhythm & Steel Band to Angels of Libra and the Mighty Mocambos, Hamburg’s deep groove scene has sired its share of worthy soul and funk acolytes.
These musicians have shared stages and studios over the years, with various
configurations finding their way in the aforementioned bands. “We started as a school project… we were just kids,” Sebastian recalls. “It’s a family thing, and we really know each other well.” Sweets is more than just another addition to this scene’s collective musical canon; it is a vibrant dispatch from funk’s leading edge.

Bassist, composer and arranger Bill Lee (who is the father of celebrated Director Spike Lee) helmed numerous Strata-East projects, but this is the one that most stands apart. The Descendants of Mike and Phoebe is a one-off 1974 album uniting Lee with his siblings Cliff Lee, Grace Lee Mims and Consuela Lee Moorhead under a name that pays honour to their enslaved ancestors. Elements of jazz, gospel, soul and blues are threaded into a work of complexity but spirituality, with nimble, dancing grooves next to more pensive explorations. It's a sought-after rarity from the label's catalogue that has been freshly remastered for this reissue. Essential Strata-East history.

This has been a very personal project and a mammoth undertaking for us folks here PACE HQ: 12 tracks unearthed from the cult Scottish figure’s completely overlooked back catalogue. Collected archive material from the past 25 years, originally composed as an OST for the feature length film The Flesher (1992) which was also written, shot and directed by Rae. No copies remain. Deep cuts that span G-funk, hip-hop, house, synth-pop, electro, dub, downtempo, funk/soul, R’n’B with appearances from Rae’s heavyweight list of frequent collaborators… Bernie Worrell, Adrian Sherwood and Jimmy Douglass.

"In 1991, the Scottish Rugby Union & the Royal Bank of Scotland, commissioned me tae make the world's first Scotland World Cup music video... they didn’t pay me so I fought back. It took 18 years tae win, and I nearly lost everything. I turned to audio visual art: under the pseudonym Jock Pleasure - I wrote and directed a feature length film called The Flesher as well as creating 100s of full length DVDs and tracks” (Jesse Rae).

One man took on the banks and won, but it took its toll and in this totemic corpus of work Jesse Rae counts the cost. The Flesher is art as pure defiance: “this stuff is very dark and deep, it is such a vast body o’ work, but when I won my battle against the bank, I secretly returned tae Hodge Close (in the Scottish borders) and dropped the entire work sealed in stone intae the deep deep murky depths of that water, where it has remained since 2009. There are no mair copies."

What we have here then is the salvaged remains. A hopeful dunt of Scottish erotica that gets you right in the pits.

Splice DJ Screw with Dean Blunt, Moodymann, Prince, Cocteau Twins, MF DOOM, Luther Van fuckin’ Dross, Barry fuckin’ White; run that through the B-movie videotape static meets Harmony Korine, Les Blank & early Grand Theft Auto. Empty boulevards. Small-town strip joints. Late-night dial-up. Sacrifice and solace. Outside of the OST, there’s a cast of forgotten characters: primary school kids making house jams, teenage popstars from the Scottish Borders, and the rhapsodic Ayrshire soprano NIKA laying down haunting vocals in Miami.

Celebrated as a cult figure in the USA, Jesse’s work has never fully had the appreciation it deserves at home. Not really. Aye, we know Inside Out and The Thistle. But he’s too easily fobbed off as an eccentric outsider: a helmet-wearing, claymore-wielding gimmick. But do we really know the extent of what this man has done - and gone through - for the sake of art?

Box Set w/ Hand-stamped LP, 36 page riso-printed book, Riso-printed fold-out poster, Stickers

"Phantom Seance Ballett is a boombox orchestra, Nō mimes, Vicky’s protection spells, Detlef’s psychic shuffles, a smoke machine, a strobe light chamber, painting, Margit Carstensen’s chiffre, Susie Greene’s insults, Schleim, Ebichu’s echoes and Anna Oppermann’s limbo."

Thus we welcome Lena Willikens & Sarah Szczesny's ethereal Phantom Kino Ballett project to Utter with 'Phantom Seance Ballett', an unusually tangible manifestation of what has become an on-going series of live performances and installations that incorporate sound, video, costume, still imagery and beyond. The themes explored weave in and out of grasp, touching on the otherworldly and mysterious, on hypnotic rites and ceremonies, on the fetishisation of cultural tropes and curios.

While carefully documented, these happenings had not been distilled or presented in a cohesive format until now. Of course, an attempt to harness and package such an experience required an imaginative leap beyond the traditional 'record-in-sleeve' approach and Lena and Sarah have overseen every aspect of this remarkable collection themselves.

Working with designer Till Sperrle, Lena and Sarah have conjured up a fold-out box containing an LP, a riso-printed credits poster detailing the samples and snippets collaged into the sound, a 36 page book with imagery from various shows and an essay by Thomas Vorreyer plus sticker pack. The limited 50 copy artist edition contains an additional 10 special riso-prints within an artist stamped hand-numbered box. For all, the LP contains twenty hidden locked grooves cut into the run-out on each side presenting snippets from the artists' archive.

The first of these pieces - 'Identikit Arkaden Seance' - took place on the 2nd of October 2019 at NAK Neuer Aachener Kunstverein and is a live recording. This performance was part of their exhibition "Chambers of Phantom Kino Ballett", where they showed new video works and displayed the now infamous costumes and slippers worn by Lena, Sarah and a rotating cast of guest phantoms.

At this performance, the seven performers carried boomboxes playing individual audio tracks inside and outside the Kunstverein, while Viktoria Wehrmeister and Detlef Weinrich improvised music alongside the phantoms' moving soundtracks of sonic snippets, poetry, field recordings and soundscapes.

The second piece - 'Studio Chamber Seance' - contains diverse audio tracks of performances that were held by Willikens and Szczesny in collaboration with Wehrmeister and Weinrich. It has been deconstructed and rearranged with additional sound material from the Lena Willikens & Sarah Szczesny archive, then edited and mixed by Lena and Sarah in Amsterdam and Cologne last year. Additional music by Detlef Weinrich and Viktoria Wehrmeister features throughout, recorded live in Aachen 2019 and Frankfurt 2020.

Mastered by Gordon Pohl. Transfer, additional mastering & lacquer cut by Helmut Erler at D&M.

Sincere yet uninhibited. Powerful yet vibrant. This remarkable debut album captures the breakthrough moment of rising pianist Mikio Masuda.

Mikio Masuda first came to prominence as a member of the Terumasa Hino Group, and this is his debut album as a leader. The musicians are essentially the same lineup that was performing with the Hino Group in 1974, but with Masuda at the helm, the music takes on an especially fresh and energetic character. He plays with remarkable freedom and confidence, as if completely at home in the spotlight.

Four of the album’s six tracks are Masuda originals. At times he moves forward with a light, agile touch; at others, he unfolds beautiful themes with lyrical sensitivity. The variety of the compositions and the freshness of the performances are consistently striking.

Among the highlights is “Prayer”, a powerful, Afrocentric piece that stands as an outstanding example of the post-Coltrane approach. Both compositionally and performance-wise, it ranks among the album’s defining achievements.

This album marks the starting point of Masuda’s career and remains one of his signature works, documenting the emergence of an artist who would later become one of the leading figures of the fusion era.

On their fresh imprint, In.Visible, Uruguayan mainstays Kino and Manuel Jelen turn their sonics towards the slower, and stranger. On the front is Italian legend Dionigi’s first posthumous release, having sadly passed away during the making of the record, with ‘Komp 22’ an ethereal yet eye-closing opener, plodding through luscious strings and mysterious retrofuturistic sound design. The mechanically swung percussion of ‘Dust Distortion’ takes the record into straighter territory until it code-switches into a synth workout close, while ‘Bhaskara’ rounds offthe side by wiggling and scuttling through offkilter syncopations, bassline bleeps, and hellish, claustrophobic arpeggios. The flip is helmed by UK acid day-oner Scott Hallam; ‘Larb’ offers a moody, squelching downtempo groove, before closing with the most club ready (at a push) track on the record, ‘Stupendous’ – a soaring electro number bookmarked by oddball English vocal samples.

Philoxenia Records helmed by Luigi Di Venere is back with a new EP by Canadian enfant prodige André Zimmer. Remixed by the iconic Massimiliano Pagliara.

Despite building their careers out of strikingly different musical places, both dBridge and Radioactive Man have taken influence from the field in which each other operate. dBridge (Darren White) was part of the iconic drum & bass outfit Bad Company and he helms one of the scene's most solid and quality imprints in Exit Records and Radioactive Man (Keith Tenniswood) was born from the acid house scene and the off kilter electronics of his Two Lone Swordsman projects (alongside Andrew Weatherall) which led him to create his decidedly UK take on Drexciyan electro. It's by no means a stretch to learn that both producers have crates that contain their favourites from each genre but they've also found a mutual respect and connection in the studio over the last few years, leading to the dBRm moniker for Craig Richards' The Nothing Special label.

A decade has now passed since French-Algerian collective Acid Arab (a studio and live outfit helmed by producers Guido Minisky and Hervo Calvalho) wowed the world with their debut album Musique De France. Since, they've delivered two more albums, both of which take different approaches to fusing electronic beats and instrumentation with North African and Middle Eastern sounds and vocals. Resonance, their fourth full-length, sees them return to the raw, analogue-rich and bass-heavy club sounds that marked out their formative years at the turn of the 2010s - all heady Arabic vocals, traditional instrumentation, moody grooves, twisted acid lines and knowing nods to everything from acid house, new beat and EDM to industrial funk, dark new-wave throbbers, and the mid-tempo psychedelic pulse of new beat.

Carly Simon’s No. 1 smash “You’re So Vain” lingers as one of the most clever and famous songs ever recorded. The subject of mass speculation ever since its release, soon after which it occupied the top spot on multiple Billboard charts for weeks, the anthem kept a captive public guessing at the identity of its smug subject for decades. The question surrounding the protagonist’s identity remained perhaps the only mystery on the otherwise sexually open and autobiographically daring No Secrets, Simon’s commercial breakthrough and ‘70s singer-songwriter staple.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, strictly limited to 3,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set affords the platinum-certified 1972 effort the finest sonic treatment it’s received on vinyl. Helmed by Richard Perry and recorded at London’s Trident Studios — where Beatles, David Bowie, and Elton John captured landmark LPs — No Secrets touts exceptional production qualities highlighted by this restorative reissue.

Audiophiles and record collectors, take note: This is the first time No Secrets has been available on 45RPM. The wider grooves and dead-quiet surfaces pay instant dividends. Simple, elegant, and disarming, songs seemingly float amid wide, deep soundstages. Simon’s voice takes on a confident, assertive tenor that emerges with accurate imaging, balanced tonality, and palpable presence. String arrangements and backing vocals come through with similar realism.

Enhanced by an all-star cast — Simon’s then-husband James Taylor, Paul and Linda McCartney, Mick Jagger, Lowell George, Klaus Voorman, Bobby Keys, Jim Keltner, Nicky Hopkins, and Bonnie Bramlett are among the renowned musicians who lend a hand — No Secrets advances Simon’s themes of personal introspectiveness, no-holds-barred reflectiveness, and feminist-inspired boldness. She makes every moment of No Secrets worth savoring. Simon invests her all in the songs, handling beautiful ballads, sassy folk-rock numbers, and bluesy fare with calm, composure, and candor.

While acknowledging her own regrets (“You’re So Vain”) and loss (“The Carter Family”), Simon champions the highs (“The Right Thing to Do”) and pains (“His Friends Are More Than Fond of Robin”) of love in a sincere manner indicative of her maturity as both an artist and singer. The New York native distinguishes “When You Close Your Eyes” with deep-rooted spirituality, recalls childhood joys via charming sentimentality on “It Was So Easy,” and and takes ownership of her persona on a cover of Taylor’s “Night Owl.”

“We have no secrets
/We tell each other everything,” Simon sings at the record’s midpoint, encapsulating both the themes and bravura of an effort that was nominated for four Grammy Awards and saw her write or co-write every song but one. Combined with Perry’s savvy instrumental arrangements, her self-assured performances and forthright lyrics grant No Secrets an edginess and relevance immune to the ravages of time.

Looking back on her career in the early 90s, Stevie Nicks described the first track of Rock a Little as “the most exciting song that I had ever heard.” This coming from a superstar who was already closely affiliated with several bajillion-selling Fleetwood Mac albums — to say nothing of her own benchmark solo debut. Her remarks attest to the enthusiasm and effort she invested in her third record, a 1985 work that quickly furthered Nicks’ profile and cemented itself as a piece of 80s pop lore.

Mastered at MoFi’s California studio, pressed at Fidelity Record Pressing in California, strictly limited to 4,000 numbered copies, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents Rock a Little in audiophile sound for its 40th anniversary. Helmed by a cadre of producers and engineers, and recorded for a reported one million dollars, the platinum-certified album teems with a head-spinning array of colors, tones, dreamscapes, and accents. This reference-grade reissue marks the first time they are all brought to light and conveyed with proper balance, dimensionality, and positioning.

Though Rock a Little doubtlessly has period characteristics of a mid-80s LP, Nicks and company spare no expense when it comes to distinguishing the music with expansive sonics distinguished with lush melodies, high-tech percussion, echoing vocals, sampled keyboards, and layers of sophisticated accents. The degrees of spaciousness, headroom, and dynamics are nothing less than inspiring, while the newly enhanced detail, texture, and clarity make the songs sing like never before. As for Nicks’ voice? Wait ’til you experience the transparency and depth.

Those advantages extend, of course, to the aforementioned “I Can’t Wait,” a statement-making opener shot through with modulating synthesizers, splashy drums, metallic guitars, and serious drama. Holed up in a massive studio, Nicks required just one take to nail her part, which she called “magic and simply not able to beat.” The singer-songwriter also distilled the reverberating emotional essence of the Top 20 tune, stating “when I hear it on the radio, this incredible feeling comes over me, like something really incredible is about to happen.”

The same can be said for nearly all of Rock a Little. Crafted by the likes of Songwriters Hall of Fame multi-instrumentalist/producer Rick Nowels, Heartbreakers organist Benmont Tench, bassist Bob Glaub, jack-of-all-trades Greg Phillinganes, and session-pro guitarists Waddy Watchel, Les Dudek, and Danny Kortchmar — along with another two dozen or so participants — the record spills with diverse ideas, shapes, and moods. Everything is in the right place, as evidenced by the swirling glide and sensual undertow of the slightly funky title track to the snapping rhythmic pace and big hooks of “Imperial Hotel,” one of Nicks’ standout moments.

“What was it she wanted?” Nicks queries on “No Spoken Word,” continuing a theme of contemplation that runs through the narratives. Nicks never lands on a definite answer, but hearing her explore loneliness, love, and the secrets we keep to ourselves proves continuously rewarding. Take her passionate performance on a cover of Chas Sanford’s “Talk to Me,” a Top 5 smash furthered by tasteful saxophone lines and understated folk elements. Immersive yourself in the grand sonic corridors of “If I Were You,” laden with Nicks’ signature mysticism.

Moreover, surrender to the gravitas of the closing “Has Anyone Ever Written Anything for You,” a piano ballad composed about the death of Joe Walsh’s three-year-old daughter. As Nicks asserts earlier on the album, she sings for things money can’t buy.

So, rock a little, yes, but dare to feel even more.

Another standout chapter in the Sacred Medicine catalogue, this latest release sees Ron Trent at the helm once again. This time featuring master percussionist Angel Figueroa (Herbie Hancock “This is the Drum” ) and multi versed guitarist Pablo Color.

The track unfolds through layered rhythms and melodies that feel light yet deeply pulsating, carrying both elegance and intensity. Its rich, evolving arrangement balances a strong percussive drive with a sense of space and musicality, revealing new details with every listen.

On the flipside, a more acoustic “Suite” version offers an alternate perspective, highlighting the composition’s organic textures and depth. A record that speaks to both dancers and attentive listeners alike, and another meaningful addition to the ever-consistent Sacred Medicine catalogue.

Durite, the label helmed by FaF, unveils the second installment of its Eclectic Journey series, featuring three tracks from French producers Abou Naïm (aka Nils) and Pagenty.

This split draws heavily on Brazilian influences, blending infectious rhythms with baile funk energy and break-driven sounds.

Limited to 300 vinyl copies, it is now available for pre-order.

Brouqade returns with a heavyweight contribution from one of Mexico’s finest: Sakro takes the helm, delivering a 12" that strikes the perfect balance between hypnotic depth and peak-time functionality. After months of building anticipation on dancefloors worldwide, becoming a secret weapon, these four tracks have finally found their way onto wax.

This EP is a masterclass in rhythmic tension and psychedelic storytelling. Sakro places the groove unapologetically at the forefront. The listener is submerged in a dense atmosphere defined by:
Rolling Basslines & Trippy Textures

Across the four tracks, Sakro explores the intersection of raw house energy and sound design. The nuances whether modular bleeps or unexpected percussive shifts, intensify the groove rather than distracting from it. It’s this specific blend of sophistication and grit that has already caused a stir in some Sets.