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The latest by New York-based producer Lamin Fofana further refines his cinematic dialect of fractured soundscapes, displaced rhythms, and tectonic unease. Unsettling scores aptly describes itself: grainy, bristling, and bruised, rippling with dread disguised as grandeur. The collection emerged from an extended reworking of his 2016 composition, “A Symbol of the Withdrawn God,” mining deeper into the piece’s “unvoiced fragments, shards, and utterances.” Other tracks were inspired by recent readings on climate emergency and its “specific implications for Black life, from hurricanes in the Caribbean to mudslides in West Africa.”

Fofana has spoken of his music as part of a “legacy of resistance,” spanning the roots of Detroit techno to the outer reaches of contemporary sound art as championed by his labels, Sci-Fi & Fantasy and Black Studies. His work here vividly embodies that spirit, seven hyper-textural transmissions of rumbling lament, shifting sands, and restless innovation, tracing jagged silhouettes of indeterminate futures: “The instability is worldwide.”

Renowned Frankfurt favourite Reboot steps up to plate for Snatch! Raw, letting loose three hypnotic hits of groove-heavy firepower in signature style.

What comprises a dream?

An astral plane of our own making where thoughts, love, and desires of the inner mind abound with irreverence - ripe with connection & perspective beyond constraints of time, set, and setting.

Azu Tiwaline exists within the wonders of these interstitial worlds, diving deeper towards inner sanctums of mystic imagination, sublime intrigue, & profound understanding on her second full length LP “The Fifth Dream”.

Released again through her beloved partnership with I.O.T Records, “The Fifth Dream” finds Azu painting an expansive vision towards unified multitudes, mercurial realities, & abundant inner sanctums.

Where her first album “Draw Me a Silence” was a loving ode to her family & upbringing in the form of an elegant diptych, “The Fifth Dream" is the enactment of actualizing her roots into new routes, taking her multifaceted identity into new means of communication towards herself, the world, & the cosmic unknowns that surround her.

Throughout The Fifth Dream’s 54-minute runtime, we hear all elements of the uniquely transcendental sound that Azu is beloved for worldwide. “Antennae Opening”, “Blowing Flow”, & “Amen Dub” embody her talents for tectonic, dubwise soundscapes that channel the innately maternal elements of bassweight into bold & abstracted pulsations, indebted to the most psychedelic & body activating ends of dubstep.

Still attuned to the spatial awareness of dub sonics but giving way to the hypnotic syncopation & synaptic frequencies of techno, “Reptilian Waves”, “Long Hypnosis”, & “Mei Long” bring forth her spectacular expertise for entheogenic rave rhythms - guiding us warmly towards trance-inducing hyper states of dance & delight. Fluctuating between an adventurous velocity and enveloping stasis, the expansive abyssal planes of “Golden Dawn”, “Night in Palm Tree”, & “Canope Imaginaire” conjures a wondrously invigorating rhythmic enlightenment & celestial comprehension - simultaneously moving us forward, inwards, & outwards through Azu’s uniquely omnidirectional & kaleidoscopic musical visions.

Adorned with sampled field recordings of her deeply inspiring home in the desert of El Djerid in South Tunisia, Azu opens a portal into the synergistic inner sanctums of being, self, and the world around us that’s essential to her work as an artist - from the macro levels of humanity’s naturally intimate connection to the Earth we share, down to each of our own micro levels of culture, ancestry, and belonging. All of this is alchemized through a combination of timeless Saharan knowledge & modern cybernetic tools, creating new dimensions of bewitching, euphonious sonic energy. This is music that gives back as much as the listener wants to give themselves unto it - detailed and layered, orbiting a steady core as ethereal swirls and intonations of the natural world embrace us warmly within a spellbinding journey.

8 of the album’s 9 tracks feature a deep level of collaboration from innovative Franco-Iranian percussionist Cinna Peyghamy. Cinna’s use of Tombak, the principle drum of Iranian music throughout time, is beautifully sonorous - channeling the passion of centuries of Southwest Asian rhythm & expression into his own personalized flourishes, with Azu adding her own electrifying frequencies & undiluted artistic freedom to their shared interplay. This profoundly communicative diasporic essence is transmuted between Azu & Cinna, their expression, & the listener. Both are music lovers, intimately connected to their respected Iranian and Tunisian cultures - concurrently acknowledging the wisdom of their resonant pasts, while proudly bringing the sounds of their heritage into the present & future.

“The Fifth Dream” embodies a cosmic anodyne for those feeling caught in between life’s abyssal inbetweens, whilst aiming for a consonant awareness of where our home truly lies in the swells of life’s spiritual maelstrom. This dream belongs at once to none & to many, that of a common language unified in concentric depth - finding beauty in all aspects of our world, and ultimately, within oneself.

repressed !

Jasper Byrne Aka Sonic (sonic & Silver / Accidental Heroes) Spent The Late 90s & 00s Dropping Releases On Pretty Much Every Legendary D&b Label Going (reinforced, Metalheadz, Renegade Hardware, Formation, Virus, Soul:r And His Own Space Recordings), Before Mysteriously Disap-pearing To The Far East & Re-emerging Years Later As A Hit Indy Computer Games Developer (lone Survivor) & Soundtrack Artist (hotline Miami).

After A Chance Encounter With Dead Man's Chest At A Gig In La (where Jasper Had Been Working On A Game And Wholeheartedly Soaking Up The Local Low End Theory Music Scene), It Quickly Emerged The Two Had Shared Similar Musical Stories, Straying From Previous D&b Careers And Into The Musical Wilderness, Only To Drift Back Toward The Tempo With A New Found 'outsider' Approach And Eerily Familiar Conclusions..

After Teasing Us With 2018's 110174 Mixtape (ltd Edition Cassette Only Release) And His Appear- Ances On Blunted Breaks Vol.1, 2019 Sees Sonic Mark His Return To The World Of Dance Music Proper With This Two Part, Heavyweight Ep For Western Lore.

Blending Techno, Footwork, La Bass, Hardcore, Synthwave And D&b Under A Loose Jungle Tekno Framework, 110174 Sees Sonic Crafting Beats, Breaks & Bass With An Artisanal Deftness Rarely Seen.

Prima uscita per Dischi Spranti. Otto artisti, otto stili, otto tracce inedite da parte di alcuni tra i migliori dj-producer del Salento. L’idea è quella del classico vinile d’ascolto: finito un lato, ci si alza dalla poltrona per continuare il viaggio, alzando magari anche il volume.

Ouyayebu is back with the next release - "Ouyayebu Samazama I" - and it opens another extend in the label chapter. If someone asks how to explain the release in a few words, the answer would be “Weird as this World now”

Side A occupied by dOP together with LogdaM (Mad Dim and Kirill Golikov) in minimalistic collaboration which completely changes the picture after the first half.

Side B starts with the deep multi-dimensional collab track by Cesare VS Disorder together with Anushka and continues with the strong message from Weg and Francesco Carone focused on the music itself.

Heavenly Recordings release the next two volumes in their series of remixed classics and unreleased versions. ‘Heavenly Remixes 7 & 8’ sees the label going back into the archive, as well as picking off some more recent remixes, and both albums primarily feature either previously unreleased versions or re-workings available for the first time on vinyl and CD.

Heavenly have always seen immense value in the remix, a value way beyond what it might bring commercially. Since their first release in 1990 (where Andrew Weatherall overhauled a one-off single by club kids Sly and Lovechild) Heavenly remixes have been carefully curated and treated as a key part of the A&R process. It’s an opportunity to view an artist through a different prism, to play out a musical ‘what if’ scenario. It’s the kind of exploration that’s happened consistently through the thirty plus years the label has released music.



The ‘Heavenly remixes’ series continues to showcase the very best remixes, versions, meditations, re-rubs and dubs from all around the world of artists right across the roster of the country’s most exciting record label. In most cases, the albums offer the first physical release for a remix, elevating them from streaming playlists to their rightful, spiritual home on super heavy vinyl (or shiny, super-packed compact disc).



‘Heavenly remixes 7’ heads to Belfast, where David Holmes - a producer who first appeared on Heavenly in 1994 amping up the acid on Saint Etienne’s ‘Like A Motorway’ - appears as solo artist and as one third of Unloved, who get a lift right to the heart of a Vauxhall sweatbox by Horse Meat Disco. It draws a line between Amsterdam and Frankfurt as Ludwig A.F. amps up the electronics on Pip Blom’s ‘Keep It Together’. It stops off in a south London studio where super producer Dan Carey plays the desk with Toy, then relocates LA psych rock band Fever The Ghost to an Ibizan shoreline as the sun sets on the horizon. It cements Sheffield’s reputation as the home of modern British techno with the return of true originators Forgemasters. And it pitches up in front of a renegade soundsystem late night at Glastonbury as Erol Alkan’s mighty rework of Con Man gets its third rewind of the night.



‘Heavenly remixes 8’ opens with Space Afrika’s lush, ambient reimagining of the Orielles’ ‘BEAM/S’ before Justin Robertson stretches Amber Arcades’ ‘Turning Light’ into eight minutes of electronic dub. Elsewhere, Baxter Dury’s peerless ‘Miami’ becomes a string-laden electro skank in the hands of French producer Pilooski; Edinburgh’s bedroom techno genius Eyes of Others’ ‘Safehouse’ turns into an East End bathhouse courtesy of disco deviants Decius; Ashley Beedle’s Black Science Orchestra turns Unloved’s heartworn torch song into seven minutes of glimmering dreamlike percussive house and Katy J. Pearson’s freak flag is flown high thanks to The Umlauts’ throbbing filtered electro mix. It ends similarly to how it began as TONE takes

Fran Lobo’s ‘All I Want’ on a gorgeous slow motion spacewalk.

Limited Edition Pink Vinyl Version - 500 Units Only

Berlin-based, DJ, label owner and record store head honcho, Cinthie, provides a sublime remix of Frankie Knuckles ‘The Whistle Song’ for Frankie Knuckles Day via SoSure Music, alongside the ‘Re-Directed’ Director's Cut version of the track.

Known and loved as ‘The Godfather Of House’, Frankie Knuckles’ pioneering sound inspired a movement of love across dancefloors of the Chicago warehouse and beyond. In retrospect of a career that spanned over four decades, there are moments that were pivotal to the movement of House Music and ultimately changed the course dance music forever. Frankie’s 1991 studio album ‘Beyond The Mix’ on Virgin Records, featured one particular moment that would remain in the hearts and minds of generations to come…

‘The Whistle Song’ went on to earn Frankie’s first US Dance Chart number one and has become one of house music’s most iconic and recognisable productions. More recently, the track has been ‘Re-Directed’ under the Director's Cut project that Frankie worked on with Eric Kupper; his long-time studio collaborator and close friend. With Frankie Knuckles Day approaching on 25th August, Cinthie now delivers a brand-new remix on this stone-cold classic.

Berlin based DJ and producer, label owner 803 Crystal Grooves and its sub-label Collective Cuts, we_r house, the Elevate record store and proud parent, Cinthie has grown to become one of the most revered and respected figures in contemporary electronic music in recent years. Her unfaltering drive and dedication to all things House alongside her wide spectrum of some of the most noteworthy vintage drum machines and synthesizers in existence, pinned her as an ideal candidate for a remix of this piece of dance music history.

Living up to exactly that, Cinthie’s remix is a divine update of the original, holding the iconic whistle sample at the forefront whilst including dreamy electronic blends that allow the track to be heard from all angles; peak time club moments, sunrise sets, garden raves, festivals and airwaves…. just in time for the positive times that are ahead.

IZIPHO SOUL are thrilled to announce the 7” release of the Modern Gospel Soul Banger JESUS MAKES ME HAPPY by RICHARD HARTLEY & SOUL RESURRECTION - Presented on vinyl is ‘The Joyful Exaltation
Edit’, this excludes the rap from the original version.
On the flip side, HEART AND SOUL, a ballad of epic proportions that builds and builds with the finale possessing some of the most gut wrenching vocals you are ever likely to hear. Richard states towards the end that ‘I should be fading
right now’, but finds the strength to come back one more time!

These tracks are taken from the album Face II Face from 2007, the CD is virtually invisible - Discogs history reveals no sales.

Richard Hartley has had a prolific career as a singer and musical director, travelling across the world to work with choirs and musical icons such as Aretha Franklin and Diana Ross. He is pastor
at Haven International Ministries, New York and star of his own reality television show ‘The Rev’.

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

"Multila" was the third album by Finnish producer Sasu Ripatti under the moniker Vladislav Delay. It compiles the "Huone" and "Ranta" 12"EPs Ripatti released on Basic Channel's Chain Reaction label in 1999 and 2000. The album features six hauntingly murky dub ambient tracks and the impressive 22-minute techno odyssey "Huone."

More than 20 years after its original release as a full-length CD album (Chain Reaction), these iconic recordings of modern electronic music are now available again as a double vinyl edition, featuring a revised artwork by Marc Hohmann that matches the new design of the "Whisteblower" and "Entain" reissues.

"Life films us exactly. Our experience of it, though, lies beyond images and descriptions. Emotions, coming in irrational flashes, are non-figurable. We lose our little connection to them very quickly. We look for forms which promise to take us to our own experience. We construct forms with this in mind: that they can take us to meet the subconscious. Multila's construction is principled this way. Fragments of experience, moments without definition or localisation are captured within tiny fragments of time and then within one's mindspace. We can look into it and see that experience has left some of its data to us. As we receive it, again and again, we are connected and reconnected to certain indefinable moments. Both during and after its recording, Multila is a tool to learn about the unintentional states of us. It is a way to see our own emotional loops. Multila is a soundtrack for vision." - Vladislav Delay in the year 2000

Aqua Viva is the second album by Francesco Fisotti, who returns to tell the exotic and mystical atmospheres of Puglia (Apulia), with a deep and italo house sound, jazzy and fonky, in which synths and drum machines are combined with arrangements by musicians, enriched by rap and sung.

Incl. featuring of Andrea Rossetti, Roberto Chiga, Maurizio Tomaselli, Michela Giannini, Karlino Princip, Neos, Done, Filippo Bubbico, Manu Funk, Max Ingrosso, Emiliano Roca, Marco Chiriatti, Giorgia Santoro, Alyona Tsarbell.

Proper full-length outing from Naarm quartet and venerable live show Polito! Though prior associations with Butter Sessions have birthed EP's and compilation appearances, Collapse Phase gathers the most cohesive body of work from the group to date. Self-described as "a meeting of improvised contemporary dance and live improvised techno music, working together to create entrancing performance experiences", the project translates impressively to the long-player format. Holding no pretence with its title, opening cut 'Chuggalug' swirls around the stereo field building upon sustained synth warbles with low-key basslines and breaks propelling the track. As the album progresses from the chug into gridlocked, Mills-ian loops and fast, extra-terrestrial sound design (all swinging 909s + decay), we're also treated to contrasting downtempo acid cuts and dubwise, day-time festival vibes ('Fortune Teller'). 'Nine Lines' layers various patterns in a classy exercise of dancefloor tension building, with an undoubtedly in-the-moment feeling evidencing Polito's live show foundations. Across the board the group showcase their mastering of a kind of addition/subtraction push and pull, but the varying influences in sound design provide an extra layer of depth to the whole thing and cement the Polito brand. On both 'Inside The Sphere' and 'The Sphere Is Collapsing', the dreamier, more reflective edges of 90s IDM are given a nod and these two strike as up there with the best on the album. Head for 'Mercado Waltz' for a super interesting fusion of loopy techno and modular dubstep.

Polito is a collaboration between musicians Robert Downie and Finnian Langham, and dancers Arabella Frahn-Starkie and Hillary Goldsmith.

This new album "Smile Again" a real homecoming for the artist. From pop and sweet melodies, soaring hearts, warm electric guitars, nylons, ukulele and cavaquinho, to the catchy and warm refrains, weaving a little more this solar and soft universe which made the signature of the very first Indie Pop Electro hits of the artist. With this album Broken Back signs his big comeback on the front of the French Indie electro pop scene, in media, radio, and live throughout France.

Future Romance proudly presents the 3rd volume of a regularly recurring V/A EP concept called "Sonos Futures", featuring both established artists and next generation talents. Curated with heart & soul by label founder Solee each volume will take you on a journey through deep and expressive sounds that lead us into the future.

For part III of "Sonos Futures" we warmly welcome an international group of esteemed artists. Axel Haube from Belgium with "The Return", Cybek from France with "The End Clap", Deep:art & Ysmael Amasis from Portugal with „Singularity“ and Deniz Kabu from Turkey with "Infinity".

Every track tells a story, functional but artistic, no trivial fillers. That´s exactly what you can expect on Future Romance.
Early DJ support by Tale Of Us, Hunter/Game, Nick Warren, Tim Engelhardt, Armonica, Lexer, Nhar, Anii, Eelke Kleijn and more.

Red hot Italian DJ and production collective Aura Safari is back with a second full-length album, Island Dreams. It lands on Hell Yeah Recordings on September 15th and is another live and sun-kissed odyssey through balmy Mediterranean evenings, gorgeous sundown sessions and funky analogue grooves.

Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni, Nicholas Iammatteo, Lorenzo Francioli, Ruggero Bonucci and Nicola Pitassio are Aura Safari, and between them they play drums, percussion, bass, keys, and guitar. They contributed to the first volume of the Buena Onda compilation in 2020 on this label, a year after serving up a debut album on London's Church Records. Since then they have become ever more entrenched in their local scene in Perugia, playing summer sets at the Umbria Jazz Festival, winter warmers at the legendary Red Zone Club and host their own Tropical Climax parties each month in the town centre.

Aura Safari are also deep-digging music collectors who have extensive and far-reaching tastes. When cooking up their sounds they draw on everything from Afro to Italo, house to disco, 80s boogie to world music, jazz and Balearic beats. This new album shows that once more across four sides of vinyl that sweep you up and transport you to somewhere idyllic.

The title track kicks off with steamy Mediterranean grooves embellished with lush Rhodes chords and sprinkles of cosmic magic. 'Sur Mon Balconnet' then slips into dubbed-out disco territory with 80s synths and leggy drums while 'Riserva Naturale' is a new-age jazz house sound with majestic lead synths and heart-melting chords that speak of a sunset dance on the beach. 'Onda' has squelchy boogie bass with hip-swinging drums, 'Wave Riding' is a lo-fi funk excursion with hints of West Coast Californian swagger and 'Magic Malbe' is loose-limbed Balearica with clear blue skies and blissed-out chords.

'Dancing in the Moonlight' feat. Zeke Manyika has all the vibrant feelings of bubblegum pop with Afro vocals and steel drum sounds next to rich xylophone sounds. There is plenty of heat and exotic charm to the proto-Afro house of 'Tropical Climax' and as well as dub versions of 'Sur Mon Balconnet' and 'Dancing in the Moonlight' come the scuffed-up Dam-Funk style beats and boogie of 'Disco Mantra' before closer 'Patagonia' shuts down with elastic drums and bass and playful synth leads that send you home wanting more.

Island Dreams is a tropical escape to a rich world of fusion sounds that look back to go forwards. It's a feel-good record to accompany hot nights and lazy afternoons, cocktails at dusk and dancing till dawn.

Duality Trax first opened its books in 2020 with an EP featuring Radiant Love regular Fio Fa and a remix of the year contender coming from Lisbon’s Violet. Since then the label has become known for its acute attention to detail, giving each release the shine it deserves while avoiding disposable practices and challenging the industry through its dedication to duality and balance, whether that be sonically or surrounding gender identity. It’s really no surprise that one of house music's leading label ¦gures Tywi was destined to make an appearance. Having started the Haŵs imprint in his home city of Cardiff, the label’s wide-spread popularity began to gain the attention from some of the industry’s most respected heads and became a breeding ground for new artists to emerge. A shared love of music resulted in tracks being shared over time and eventually DUALITY6 was born. In what will be his ¦rst full length EP, Tywi continues to join
the dots between 90’s house, prog, breaks and trance, with a huge remix coming from Frankfurt-based artist Maruwa. Title track ‘Reality Checkpoint’ connects various styles with a modern take on progressive trance. Sonics feel as if they’ve been projected from space in a kaleidoscopic mind-warping ride, coupled with the producer's impressive ear for world building soundscapes. A child of the ‘90s, Maruwa combines her classically trained ear with the nostalgia of her upbringing in the remix; channeling early trance records and deep, chugging rhythms into a wave of euphoria ¦t for peaktime. It’s the ¦rst time the label has also delved head ¦rst intofull trance territory, turning the intensity levels up while paying homage to both label owner and artist’s early musical in§uences. The B side opens up with ‘Spellbound’ which feels like a guided tour around the cosmos, sat beside trusted travelers and embraced by everything-will-be-alright energy . The track’s interior is built around synths that feel both effortless and light as our tour guide brings us towards our ¦nal destination. The EP comes to a close with ‘Laws Of Motion’, building slowly with shades of leafy greens and deep oceanic blues as it gently brings us back down to earth.

For the 30th anniversary of the release of the first single by Frankie HI NRG MC 'Fight Da Faida' Irma Records together with the artist have decided to pack an unreleased collector's version of the song.

The new look is in 7-inch format (45 rpm) in a limited edition on white vinyl with a gatefold format cover containing, in addition to a photo of the artist of the time and one of today, the original lyrics of the song and a text by the well-known journalist and radio and television host Luca De Gennaro who was the first to notice the artist.
The song Fight Da Faida has been seminal for the evolution of Italian Hip Hop.

At the time, few such songs had come out and they were all known mostly on the alternative circuits. Fight Da Faida, despite its harsh and explicit text against the mafias, was the first to have real radio programming on national networks.

It was also obviously the launching pad of the artist who later released his first album 'Verba Manent' which also contains this single.
The new format contains the original version, the instrumental version and the 'famous' Sicilian nursery rhyme 'Tri Tri Tri Trinacria Breakdown' which over the years has been repeatedly sampled abroad for club music songs.

1 december 1944, Thiaroye military camp, right outside of Dakar, Senegal.

1600 French soldiers of West African origin (Benin, Mali, Ivory Coast, Tchad, Senegal , Gabon, Togo etc.) have been quickly evacuated by the French Army during what was subsequentially called the ‘whitening of the colonial troops’ that happened before the armistice signature. The soldiers are awaiting to be paid for their war effort. Things go sideways, protests erupt, and the French military staff decides to open fire. The official number of casualties is 35, although various sources claim several hundred people died on that fatal day.

Since then, several artists have grasped that difficult topic, screaming for recognition and reparation.

Such is the case with a young Senegalese musician and singer named Maxidilick Adioa, with his very first single ever released, ‘Toubab Bile’, in 1987.

At that time, Adioa had been living in France for a few years. He was considered a master percussionist, playing, recording and touring alongside the great Ivorian artist Alpha Blondy. He had just written a beautiful tune, ‘Nao’, for Aminata Fall, one of the biggest actress and singers in Senegal. It seemed like a good time to launch his solo career.

Toubab Bilé remains Adioa’s biggest hit to this day, and one of the best African reggae tune ever recorded.

Adioa ended up signing an album deal with Chris Blackwell’s Island records and toured the world endlessly during the following years.

In 2012, François Hollande was the first French President to officially mention and pay tribute to the Thiaroye massacre in a speech.

Long Beach legend Scotty Coats links the West Coast eclecticism of Stones Throw to the NYC cool of DFA and Rong to the Balearic gods of DJ Harvey et al. He personally introduced Be With to Ned Doheny 10 years ago and he was immortalised on Smith & Mudd's last LP. And he's the main man behind the mysteriously titled duo Todd Russell & The Dangerous Coats, alongside Erick "Todd" Coomes (Lettuce founder/bassist).

In very real danger of being lost forever, we unearthed two of their private recordings and present them as a double A-Side 12", adorned with S-T-U-N-N-I-N-G artwork, courtesy of Arizona artist Frank Gonzales.

"Playa Larga" is a melodic, mellow masterpiece and is quintessentially Balearic. It's stretched out, low slung, guitar-soaked drum-machine soul music. It's multi-layered and contains multitudes: it builds and builds and builds and mesmerises as it does so. On the flip, "1900 Ocean Avenue" is a super slo-mo, sunbaked drug-chug which is already blowing minds thanks to early leaks of this cosmic, psychedelic detonation.

On first listen back, Erick said to Scotty: “So wait, nothing really happens, I mean nothing bad happens but nothing really happens”. Apparently these tracks were a bit foreign for Erick, musically, because of the lack of structure in the songs.

One morning, years later, Erick called Scotty and excitedly declared: “dude, I get it now!”. He was listening to random music with a lady friend while watching the sunrise in his 1900 Ocean Ave apartment and "Playa Larga" came on randomly. He'd forgotten all about it and said he had to get up and see what song it was because "it was the perfect soundtrack for a psychedelic sunrise over the ocean."

And that's exactly how we came across it, circa 2018, randomly popping up on a playlist while we were busy doing other things. It stopped us in our tracks but, when trying to find any info on iTunes, we were out of luck. It was only years later that we worked out Scotty had sent it to us. Ever since, we've been working on getting this out to you all. It's finally time.

We've only 500 pressed for the world, with many of them spoken for by those lucky enough to be already ITK, so these are gonna fly: be warned!

Scotty is a world class raconteur so we'll hand over to him to explain how these songs came about and why they mean so much to him in the context of his wider raison d'être:

"These were made 13 years ago when I was a new dad and left my job at Ubiquity Records to provide security for my newborn son, Nolan Liam Chai Coats. I became miserable working a job outside of music for the first time in my life and I was laid off 4 months into it. I was left wondering how the fuck am I going to provide for my family?

I lived in Long Beach and Erick lived a few blocks away. I would walk to his house when Jen finally got Nolan to sleep so I could escape my panic, drink some beers (is it beerlearic?) and make some music. He lived overlooking the ocean with the Queen Mary on the horizon, so I guess mellow Long Beach nights unintentionally inspired the music. These songs were the first two songs we ever made and they embody the desperation and hope I really needed at that time. 12 years later, when Rob at Be With expressed an interest in releasing it, we had Erick's brother Tyler Tycoon Coomes play drums on it at Jazzcats Studio in LBC, with Jonny Bell.

Shortly after I was laid off, I discovered The Stepkids. I was blown away by "Shadows On Behalf" and sent it on to Gilles Peterson. He played it on Worldwide the next day. The Stepkids pulled me back into music and made me realize I wasn't prepared to do anything but be involved with music. After I heard their unreleased album, I knew there was something there so I sent it to my good friend Jamie Strong who was at Stones Throw at the time. Jamie passed it along to Peanut Butter Wolf and the band asked me to be their manager. I didn't think I was the right guy for the job but wanted to see them do well so I told them I would help shop their album. Jamie suggested I take his place at Stones Throw, just as he did when he left Ubiquity Records. I always joke that Jamie can call me Scotty Coat Tails because I had been riding his for years.

Wolf told him that "Scotty is a nice guy but has horrible taste in music", which was ironic because he was literally trying to sign the band that I brought him. The Stepkids signed with Stones Throw and found a real manager. 6 or so months later Jamie sent me a note saying "Stones Throw is hiring and you should apply lol". I told him I was going to send my resume and the subject of the email was to read I HAVE GREAT FUCKING TASTE IN MUSIC. I did just that and got a call the next day from their new GM asking me to come in for an interview. When I walked in I was in Wolf's office where I had been 6 months before, signing The Stepkids
deal. Wolf and Jason McGuire were asking me some questions and wanted to introduce me to Jeff Jank. Jank walked in and said "Isn't this the guy that Jamie wanted to bring on 6 months ago?" They confirmed and he threw his hands up and walked out saying "I've seen enough". I got the job. I worked there for 2 or 3 years until I left to join forces with Jamie Strong at his label and stayed there for almost 7 years."

Scotty wanted to use a painting by his good friend, Frank Gonzales, for the front cover image. Frank was incredibly generous in letting us use this one, and Scotty was completely honoured. We think you'll agree, it's pretty striking. Simon Francis carefully mastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this double A-side 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure these previously unheard, recently discovered recordings finally get a chance to shine.

Another vinyl and another electric debut as we introduce France's Casual Treatment to EarToGround. New to the label but an extremely well versed, well known prolific producer and DJ to our scene.

This powerful Extended Player effortfully delivers four bright cuts of razor sharp Techno. The two originals from Casual express a somewhat soulful experience of his production range with the use of immersive chords and shimmering female vocals backed by obsessive grooves and perfectly executed percussion.

To fully augment the experience exponentially two Portuguese leading lights of the movement deliver their own input to the release via two separate remixes. Vil enterers in with his unique rolling attitude to bring you a true peak time performance and completing the release Cravo lets rip with an intense, sharp, fast paced rework with his dark undertones.

A true essential 12".

10th year anniversary reissue of Iggy Pop's Après cover album with a bonus track, Sacha Distel's La Belle Vie and new artwork, and an exclusive poster. Originally released only in France in 2012, Après is being reissued for the first time and is now finally available outside of France.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’. A Grammy Award winner, Frankie had a street in Chicago named after him where the old Warehouse once stood to commemorate the first ever Frankie Knuckles Day on 25th August 2004. Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades.

Now he is commemorated once again by long time writing and production partner Eric Kupper who will release part II of the special commemorative album on vinyl around this date. Eric, himself a seasoned DJ producer and writer, working side by side with Frankie on many his seminal classics, as well as personally working on over 116 Billboard #1 Dance Records. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

The album features some of Directors Cut’s best works with the Re-Directed version of the seminal classic ‘Baby Wants To Ride’ plus their re rubs of Inaya Day, Sybil, Hardsoul and Lou Rawls - You’ll Never Find Another Love Like Mine (Kenny Summit, Frankie Knuckles & Eric Kupper Unreleased Anthem).

This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continue Frankie’s legacy whilst focusing on music in schools, LGBTQ youth homelessness, AIDS research / prevention & diabetes research / education.

Sounds Of The Universe | The 12" Singles, a deluxe collector's
edition box set, contains seven 12" vinyl discs presenting
singles--including Wrong, Peace, the double A-side Fragile
Tension/Hole To Feed--alongside B-sides, remixes, dub
versions and other recordings contemporaneous to Depeche
Mode's 12th studio album, Sounds Of The Universe, originally
released by Mute Records in April 2009.
Sounds Of The Universe | The 12" Singles offers a full range of
ear-grabbing mixes--radio, club, dub and more--of Depeche
Mode originals with three discs (Discs Two, Four and Seven)
newly compiled for this collection, bringing together B-sides
and mixes first released across CD and maxi-singles
contemporaneous to the album's release.
When it came time to record the Sounds Of The Universe
album, DM's classic core (Dave Gahan, Martin Gore, Andrew
Fletcher) returned to the studio to make their second album
with producer Ben Hillier, whose intuitive contributions to
their previous studio album, 2005's Playing The Angel, had
created new sonic possibilities for the band expanding
Depeche Mode's vision and repertoire while continuing their
tradition of issuing monumental 12“ singles.

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.
Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.
The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.


The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

Norway’s +plattform delivers four sophisticated deep cuts that immerse listeners in an endless range of dynamic and melancholic soundscapes. These compositions were crafted during the artist's van travel across the scenic landscapes of Europe.

This July the esteemed scribe, proper DJ, and discreetly deft twiddler Bill Brewster, drops the latest instalment in his ‘After Dark’ series, for Late Night Tales.

A throbbing, louche and leisurely affair, groove is very much at the heart of this freestyle selection, a vibe which Bill de- scribes as “a basement, a red light and a sound system. Or, as the Beastie’s once rapped, slow and low, that is the tempo”.

There’s Hawaiian drum machine bossa balearica from Island Band, percussive afro post punk from Czech jazz singer Jana Koubkova, and breathy-bubbling-dubwise-slap-bass-soul from Debbe& The Code.

There’s also sultry deep house mood music from Lanowa, infectious bouncy jazz funk breaks from Canada High, and Nail’s life affirming re-edit of singer songwriter Gilbert O Sullivan’s electro pop gem ‘So What’.

Bill’s own studio skills are present and correct too, featuring an undulating bassy version of country troubadour Jeb Loy Nichols, reworked along Alex Tepper under their Hotel Motel moniker, and a chugged-up squelchy disco take on Khruang- bin, this time paired with Raj Gupta, as Mang Dynasty.

Chock full of exclusives, tracks are either completely brand new, or available digitally for the first time, whilst others are wallet-rinsing rarities if purchased elsewhere. Whichever way you slice it though, every tune is a highlight, working equally well as standalone nuggets, or within Bill’s fluidly cohesive mix.

Whether he’s taking the roof off a club with his unique selec- tion of deep and tough house music, enchanting a backroom with a genre-bending set of disco, Balearic, rock and hip hop or playing chillout music in a bay in Croatia, Bill Brewster is the man for all occasions.

In a former life, Bill was a punk rocker, a chef and also the co-editor of football magazine When Saturday Comes but has been a record nerd all of his life. He began DJing in the 1980s, but came into his own in the early 1990s, particularly during a two-year stint in New York running DMC’s office, where nights at the Sound Factory and hanging out with Danny Tenaglia gave him the musical grounding you can still hear in his music today.

Bill was also one of the founding residents at Fabric in London, a position he held for five years. There are few still playing regularly today that have his dedication, eclecticism and encyclopedic knowledge of music.

His parallel life is as a writer, and with his long-term part- ner-in-crime Frank Broughton, they have written four books together, including the acclaimed ‘Last Night A DJ Saved My Life’ (latest edition published last July), ‘How To DJ (Prop- erly)’ and ‘The Record Players’.

He has been working in the industry’s fringes for over 40 years including the running of various labels from Twisted UK and Forensic in the ’90s to Disco Sucks and Anorak in the noughties.

He is one of NTS radio’s new residents for 2023 and his ‘Low Life Loves You’ show is available on the first Tuesday of every month.

"We find ourselves venturing into the depths of a rugged terrain. In our hands, we hold stones and minerals, each possessing its own distinct texture, weight, and sonic potential. It is through the artistic touch and through the musical instruments that these earthly treasures, once dormant, are awaken to life." — Sara Oswald + Feldermelder

The 3rd collaboration of prolific cellist Sara Oswald and electronic musician Feldermelder evokes captivating sensations that oscillate between impending doom and hope. The albums' sonic journey is highly immersive, transporting the listener from one cerebral landscape to another. The transformative nature of metallic elements being integrated in sustained orchestral tones weaves the sonic tapestry, resulting in a captivating experience for the listeners. The organic sounding — reminiscent of minerals' timbres — brings a touch of brightness and a distinctive edge, while the orchestral harmonic structures lend a sense of grandeur and continuity. The origins of this music remain enigmatic, while the tracks of the album gradually unveil concealed aspects and the hidden truth.
One can step into a realm where melodies are reborn, as Sara Oswald's cello spins tales and emotions burst forth. Nature's eternal splendor intertwines with the essence of music, as she infuses harmonies with the soul of mountains. Vibrant hues come alive with delicate strokes, and cascading notes resonate with a select few. Feldermelder conjures profound echoes that swirl like ancient whispers of the earth's primordial past. He sculpts textures, from fragmented glitches to expansive atmospheres, that warp the fabric of reality. The two musicians merge together harmoniously, blending the acoustic and electronic worlds into a transcendent unity. This fusion of contrasting elements adds a unique and intriguing quality to the music. The cello's warmth merges with pulsating electronic beats, creating a symphony of contrasts and sonic upheaval. Each composition is woven in intricate layers, combining electroacoustic architecture with delicate precision. A subtle balance of chaos and control permeates the music as it meanders through the labyrinth of the mind. The soundscape unfolds like a grand tapestry, distant echoes murmuring like grains of sand.

Trained in baroque cello and advocating improvised music, Sara Oswald is the perfect match for sound artist and electronic musician Feldermelder. She plays solo, composes for film and theatre and collaborates with musicians like The Young Gods, Pascal Auberson, Sophie Hunger and Julian Sartorius. Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founders of -OUS and part of Encor.studio, a collective of artists who specialise in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

Freestyle Records presents Albert "Alchemist" Thompson's Promise Land, an EP featuring vocals from reggae & dancehall greats Frankie Paul, Joseph Cotton, Prince Malachi & Anthony John, representing a musical collection that has gradually evolved, matured & marinated over the course of the past 32 years - now finally seeing it's first ever release.

Albert Thompson (brother to the great Peter Chemist) was chief engineer at the storied I&I Sound Recording Studio after it moved it's base from Los Angeles to Jamaica in 1989, working with a wide range of heavyweight artists such as Dennis Brown, Bunny Wailer, Mighty Diamonds, Gregory Isaacs & many many more. During some studio downtime in early 1991, Albert laid down the rhythm track (itself a take on Aswad's Love Fire riddim, made most famous by Dennis Brown's iconic Promised land vocal track) with musical assistance from Tony Thomas.

16 years and a move to London later, Albert had founded his Alchemist Recording Studio on Brixton's Acre Lane in a space above the legendary Supertone Records - recording dubplates with talented local artists and touring Jamaican artists alike. Digging out the Promise Land tape, he proceeded to cut these 4 vocals on the version during the course of 2007. Another 16 years gone, and after hearing the tracks following a chance encounter with Albert in South East London, we felt they were finally ready to see release!