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Ten years ago, Anderson .Paak didn't just release an album; he staged a full-scale takeover of the soul and hip-hop landscape. Released on January 15, 2016, Malibu served as the definitive arrival of an artist who had spent years grinding in the underground before a star-making turn on Dr. Dre’s Compton. While his previous work hinted at his potential, Malibu was the moment the world met the "Cheeky Andy" persona in full—a virtuosic drummer, a raspy-voiced crooner, and a sharp-witted rapper all rolled into one. The album is a sprawling, sun-drenched journey through the Southern California coast, blending 1970s funk, church-reared gospel, and gritty boom-bap into something that feels both nostalgic and entirely futuristic. With a heavyweight production lineup including 9th Wonder, Madlib, Kaytranada, and Hi-Tek, the record maintains a warm, analog texture that was a breath of fresh air in an increasingly digital era. It’s an album that breathes, full of intentional imperfections and the kind of "in-the-pocket" groove that can only come from a seasoned live performer. Beyond the infectious, dance-floor-ready energy of tracks like "Am I Wrong" and "Come Down," the album is a deeply autobiographical masterwork. .Paak uses the 65-minute runtime to unpack his life story with startling clarity, touching on his mother’s gambling addiction, his father’s incarceration, and his own brushes with homelessness with a sense of resilience that never feels heavy-handed. He weaves these heavy themes through a lens of triumph, grounded by vintage surfing documentary samples that give the project its cinematic, coastal atmosphere. It’s a celebratory record born out of struggle, anchored by his impeccable technicality on the drums and a guest list—featuring ScHoolboy Q, Rapsody, and The Game—that feels hand-picked to complement his specific brand of West Coast swagger. A decade later, Malibu stands as a modern classic and the blueprint for the soulful revivalism that would eventually lead .Paak to global superstardom and Grammy-winning heights. It remains a testament to the idea that the most profound music often comes from the most personal places, proving ten years on that the best way to move forward is to stay rooted in the groove.

Following her acclaimed 2023 release Flood City Trax, a dreamy, lo-fi take on footwork inspired by the crumbling rust-belt city she calls home, Nondi returns to Planet Mu with her second self-titled album, Nondi…While Nondi… retains some of the hazy, nostalgic atmosphere of Flood City Trax, it pushes her sound in bold new directions. “I made this album to capture the sense of freedom I used to get from music when I was first discovering it all,” Nondi says. “It’s meant to be cute, fun, kinda weird and emotional — but most of all, it’s a presentation of some of the prettiest tracks I’ve made.” Though she hasn’t really experienced club culture where she lives, her impressionistic productions evoke the surreal, lingering sounds of a night out — the melodic haze that hums in your ears as you drift off to sleep. Lo-fi and melodic, yet fluid and free, her music carries a sense of flight and intuitive logic. Nondi’s influences range widely — Actress, Aphex Twin, footwork, and the stranger edges of dub techno are all felt, yet she hallucinates them through her own weathered, dreamlike lens. Her tracks often build from clashing loops that evolve and transform organically, or from familiar genre elements reshaped by her instinct for misty, heart-wrenching melody. Some moments stay closer to genre, like Broken Future 175, a drum-and-bass tear-out that dissolves into lush, blurred chords, or Just Hanging Out, a bruised and beautiful take on 2-step. Lead single Tree Festival feels like a blown-out fusion of rave energy and sped-up new-age bliss, while Death Juke drifts through off-beat vocal samples, pulsing drums and 8-bit FX, reminiscent of early Steve Reich reimagined through a Game Boy. Nondi… is a uniquely moving and exploratory album that expands her sonic world even further. Lo-fi yet luminous, playful yet profound.

Limited Silver Vinyl Repress!

Mexican brothers Soul Of Hex are back on Delusions Of Grandeur and deliver an absolute gem of an EP entitled Constellation. With recent releases on Underground Resistance (as Mano De Fuego) and an upcoming release on Kilometro 4.5 which features Mad Mike Banks and Kuniyuki it’s safe to say Soul Of Hex are keeping good company and have earned the respect they deserve through their talent, consistency and hard work.

Leading the charge we have Face Down which is an absolute barnstormer of a track which features a killer electric bass line and low slung dubby disco drums and twisted FX. Simple, powerful and funky AF!

Constellation is up next, picking up the BPM’s for a full on soulful piano house jam which features Javonntte and Mariana Phelts on vocals. Far from being a retro throwback, Soul Of Hex have successfully created a fresh and original slice of feel good, disco-influenced house music while doffing their caps to to the OG maestro Marshall Jefferson.

Next up is Dimension Spell which brings some full on funk vibes to the table courtesy of More Lotion’s heavy guitar work. Euphoric synth pads bring the deep ness while the stripped back beats and punchy Moog bassline ensure maximum dance floor pressure.

Closing out this brilliant EP we have Into The Night, a beast of a tune which fizzes with an understated energy thanks to it’s rolling, minimal groove. In your face syncopated Rhodes stabs skip around the disco drums while a repeating vocal sample brings that top line ear candy.

With American idealism and societal unity in flames, the ethereal ambiance of Denver's ABRAMS has been permeated by vibrating, hair-trigger fury. On new album Loon, wistful melodies warp into dissonance and aggression, and crystalline beauty is inhabited by bitterness and rage. 2024's soaring and driving Blue City was a record full of arresting, nostalgic textures that Metal Hammer Magazine called "an upswell of positivity in the face of frustration that's sure to shake you from your existential slumber." But this is no longer the world of that album. The grinding hopelessness and chaos of these times have infused ABRAMS with the shattering intensity of Converge. Urgent and abrasive, Loon is acerbic, fed up, and riddled with pulverizing fury. Wistful melodies warp into dissonance and aggression. Crystalline beauty is inhabited by bitterness and rage. The band's instinctive hooks aren't gone, and hopeful moments do shine intermittently through. But it's clear that ABRAMS, like a lot of us, are pissed off. Desperate and seething, Loon is an irresistible, frenzied purge from a band refusing to give in. For fans of Torche, Converge, Cave-In, Failure, Quicksand and Hum. Coloured LP (white vinyl) & digipaked CD

Faitiche welcomes a new artist: Christina Kubisch belongs to the first generation of sound artists. Her practice ranges from performances, concerts, to works with video and visual art, but she is best known for her sound installations and electro-acoustic compositions.

TUNING brings together three pieces by Christina Kubisch from different periods of her oeuvre. What they have in common is the way they transform sound phenomena originally considered “non-music” into compositions.

Jan Jelinek: Gaming in Silence (2024) is the most recent work on this compilation. It’s a collage of electromagnetic waves, voice, and abstract sound textures. How did this combination come about?

Christina Kubisch: Gaming was commissioned as a fixed-media composition for the Sound Dome at ZKM Karlsruhe. Since Resonances: The Electromagnetic Bodies Project (2005), I’ve been making recordings in the old and new server rooms at the ZKM and in their permanent collection of historical computer games. Computer games like Asteroids (Atari, 1979) and Poly-Play (VEB Polytechnik, 1986) have specially generated analogue electromagnetic waves that interest me in particular on account of their density, rhythms and textures. I originally studied painting and to me the work of composition often feels like painting an abstract picture. I alter my source material as little as possible, layering and overlapping until a distinctive sound space emerges. In recent pieces, I sometimes combine magnetic waves with field recordings or live instruments. In Gaming it’s my recording of a Chinese song about silence.

JJ: Two persons walking through a street in Madrid (2004) is a recording from your Electrical Walks series. Here we should give a brief explanation of one of your best known works: participants in an Electrical Walk move through public spaces wearing prepared headphones that allow them to receive electromagnetic waves from their surroundings – for example from security gates, ATMs or neon signs. They discover a situation that normally is inaudible to the human ear and they can actively shape it by choreographing their movements. I really admire this piece, not least because there’s no clear dividing line between participants and artist. What exactly do we hear in Two persons walking through a street in Madrid (2004)?

CK: With this early work, I wanted to understand what is heard by people participating in an Electrical Walk in the same place but moving in different ways. The Spanish composer Miguel Alvarez-Fernàndez and I set off from opposite ends of a major shopping street in Madrid, met briefly in the middle, and then continued to the end. We both recorded our walks and I then layered them over one another. You might call it a work of electromagnetic conceptualism.

JJ: Diapason (2009 version) is an installation that plays a composition based on sounds from fifteen tuning forks. This setting is audible in the recording: there’s no dramatic arc, no beginning or end – instead, it recalls a piece of aleatoric music focussing on the decay phase. How did you come to make this work and could you tell us something about your compositional method?

CK: Diapason is part of a series of three pieces that deal with “non-instruments” or instruments that no longer exist: electrical mine bells used to send signals to the workers underground; a historical glass harmonica originally used for medicinal purposes; and tuning forks that were used by doctors to test people’s hearing. All of these methods are no longer in use. The sound of the tuning forks, audible only if held close to the ear, was recorded at the electronic studio at Berlin’s Technical University in such a way that even their decay remained audible. The frequencies range between 64 and 2048 Hertz and they can be adjusted at micro-intervals using small movable weights. The sequence and the duration of the pauses are dictated by chance and were not defined in advance. The 2009 version was created for an installation in the historic Holy Cross Church (Korskirken) in Bergen. Visitors could enter and leave the space at any time, deciding for themselves where and for how long they wished to listen to the sounds played back over an array of small loudspeakers placed on the floor of the apse.

Credits:

Gaming in Silence: commission of the ZKM/Hertzlab, Karlsruhe 2023
elektronic sound processing: Tom Thiel
sound engineering and mixing: Eckehard Güther

Diapason: produced at Elektronisches Studio of TU Berlin
rearrangement: Eckehard Güther

Christina Kubisch, published by Edition Christina Kubisch / Random Musick Publishing

image front: Transitionen 2021 by C. Kubisch, sonagrams of electronic waves (courtesy: Galerie Mazzoli Berlin)
image back: Diapason Tuning Fork, property of Folkmar Hein, Photo: Archiv Christina Kubisch

design by Tim Tetzner
mastered by Giuseppe Ielasi
Thanks to Miguel Álvarez-Fernández, Folkmar Hein, Dominik Kautz and Mario Mazzoli

lovetempo is the solo project of Mattie Safer, former member of the beloved New York electroclash band The Rapture, now channeling his club-rooted background into contemporary disco and electronic soul. The album features a strong cast of collaborators including Dougie Stu (Brijean), Toribio, Kate Mattison (79.5), and multi-instrumentalist Izaak Mills, with mixing and additional production by Carlos Truly (Ava Luna, Juan Wauters, Frankie Cosmos). The project has received tastemaker support from Gilles Peterson and Laurent Garnier, airplay on BBC 6Music, KEXP, and KCRW, and editorial placement on Spotify playlists including Pollen, Metropolis, and Jazz House.

Two ultra-rare Peruvian gems that reimagine the international hits 'Do You Think I'm Sexy?' and 'Saturday Night Fever' through the lens of hypnotic Andean rhythms, full of vibrant winds and pounding percussion. Disco music, reworked with huayno and Andean cumbia flair! Once again, Peru manages to surprise us. From the heights of the Andes come two incredible recordings that show how local folklore has embraced international hits-resulting in fun, unexpected fusions with a distinct Andean twist. 'Do You Think I'm Sexy?', Rod Stewart's 1978 classic, is transformed into a powerful huayno anthem-complete with driving percussion and bold brass that almost echo the sound of a New Orleans street parade. Raw, energetic, and unmistakably Andean. On the flip side, we find a playful nod to 'Saturday Night Fever'-retitled 'El Travoltoso'-infused with infectious rhythms of huayno and cumbia. Once again, wind instruments take center stage in this track, just like in the flip-side cut. Both songs come from some of the rarest and most sought-after records among collectors of Peruvian music. Reissued for the first time ever.

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more.


Joji kehrt mit seinem lang erwarteten vierten Studioalbum „Piss In The Wind“ zurück. Die neue LP festigt seinen Platz als einer der markantesten und genreübergreifendsten Künstler seiner Generation, der eindringliche Melodien mit einer rauen, aber atmosphärischen Produktion in Einklang bringt. Das Album fängt die stillen Widersprüche ein, die seine Musik seit jeher auszeichnen, und verwandelt innere Unruhe in etwas seltsam Schönes. Mit „PIXELATED KISSES”, „Past Won’t Leave My Bed” und weiteren Titeln.

The new HARDLINE album ‘Shout’ sees the band helmed by American vocalist Johnny Gioeli (Axel Rudi Pell, Crush 40) and his Italian team mates, keyboardist Alessandro Del Vecchio, guitarist Luca Princiotta, bassist Anna Portalupi and drummer Marco Di Salvia, take up where their 1992 Melodic Rock masterpiece "Total Eclipse" left off.

Even in these most turbulent of times, dub musician and fatigued onlooker Elijah Minnelli remains an inexplicable stalwart on the lower rungs of the Breadminster County Council.

His latest record ‘Clams As A Main Meal’ continues his astute siphoning of council funds, this time with help from the Breadminster Board of Abstinence. As a further mark of respect, the original head of the Board, Dr. K'houldoux, graces the cover art in his infamous ‘Looming Moon of Desire’ guise.*

As fine a backdrop as any for Minneli’s off-brand dub experiments, and ‘Clams...’ is the truest representation of his varied wheelhouse yet...

We find vocal appearances from dub goliath Dennis Bovell and Welsh-language singer Carwyn Ellis. A pair of tracks which build on 2024’s acclaimed ‘Perpetual Musket’, a collection of folk songs reworked alongside reggae vocalists, released by FatCat Records. It garnered glowing reviews, with nods from The Guardian and The Quietus concluding with prominent appearances on their respective yearly round-up lists.

Elsewhere, the album finds Minnelli in a more experimental mode, all wheezing contraptions and cockeyed bass, creaking with the weight of creation, a satisfying tactility laid seam-side up.

As well as ‘Perpetual Musket’, the new album follows years of sold out 7" singles, handmade and self-released. Online, the tracks have amassed global streams numbering in the millions. His tracks have found play across an eclectic range of radio mixes and dance floors, most notably the likes of Andrew Weatherall, Batu, Optimo and Zakia Sewell (BBC6Music).

It is perhaps worth mentioning that this everbuilding interest in his work is at great odds with the growing suspicions amongst his fellow townsfolk, who see his Breadminster County Council Music Initiative as nothing more than an empty cash-grab.

Further Reading on the Breadminster Board of Abstinence

In the late 70s, Breadminster was awash with the last vestiges of the hippy era. Though the flared silhouette of the lower leg remained, the utopian ideals that had once flowed merrily around the youth's shaded ankles had begun to wane. LSD and free love had led to a sharp spike in population and a generation of children raised by air-headed psychonauts unprepared for the bleary-eyed strictures of parenthood.

Aware of the crisis, the County Council entrusted Dr. Paulinque K'houldoux to spearhead a pushback, and it was his pro-abstinence movement - a mixture of education initiatives and radical renutrition campaigns - that came to impact Breadminster's census deep into the new millennium.

Being a pseudo-archipelago Breadminster has fundamentally limited resources, however deep-seated ties to distant coastal villages meant that oysters were a regular part of the local diet. K'houldoux pinpointed this as a factor in the town's overpopulation, and believed that simply replacing these with clams (a “lesser mollusk”) would help lower the erotic urges of the people. It was his “anti-aphrodesia” movement that first championed the idea of “Clams As A Main Meal,” and the slogan “Consider Abstinence” carried the message yet further.

The Breadminster Board of Abstinence soon became involved in all cultural happenings in the area, with K'houldoux MCing at prominent festivals and performances, sometimes dressed as the “Looming Moon of Desire” - an idea of his relating to the tide, seafood, menstrual cycles, and his privately held celestial predilections.

It was in 1981 that it was revealed Dr. K'houldoux had never fully qualified as a doctor and was seeking exile in Breadminster due to a series of botched bracelet heists in which he had previously been involved. K'houldoux was subsequently extradited to Basingstoke, where he served 3 of a 12-year sentence, owing to the lunar-oriented prisoner health campaigns he helped implement.

It has been a strange twist of bureaucratic fate that the Breadminster Board of Abstinence has never stopped receiving public funding, despite its lack of clear utility. And while its roots are tied to a rose-tinted past, the Board continues to sponsor cultural events and projects to this day.

An extract from: Eugeniq Schooner's article in Sydney Parishioner: “Clams, Breadminster and Countercultural Abstinence Trends” (2008)

(Extrawelt Remix) The second vinyl installment of 20 shifts focus toward cinematic structure, melodic depth, and genre-crossing reinterpretations. Collaborations and remixes involving Extrawelt, Noga Erez, Perfect Stranger, PRZ, and A. Balter underline Eitan Reiter's refined and flexible production approach.



20 (Part 2) is a 12-inch vinyl release featuring exclusive vinyl cuts that are not available digitally, offering collectors insight into Reiter's evolving sonic language.



LS003 completes the vinyl-only snapshot of 20, presenting carefully selected collaborations adapted for the physical format.

Belgian minimalist, Dutch-language new wave/synth pop, since 1981! The historic album ‘Jonge Helden’ (1981) brought them instant eternal fame, the single ‘Lekker Westers’ (1983) a Belpop classic & the line-up changed wildly with icons such as Luc Van Acker (Revolting Cocks), Dani Klein (Vaya Con Dios), Willy Willy (The Scabs) or Andrew Chi Claes (Stuff) ...

However, MARCEL VANTHILT (lyrics & music) continues to rock the anarcho-Dadaist-electro-super-tronica scene to this day. Side note: Vanthilt often strayed into TV land (BRT, VPRO, MTV-EUROPE, BBC) and is now a DJ at Radio WILLY with the alternative ‘De M-Show’.

AA! is once again performing frequently in the best clubs (Depot, Casino, Macca) and on major stages (Pukkelpop, Villa Pace, Paulus Oostende). This will also be the case in 2026! This is due to the fresh and spicy new album ‘AA!PKPP’ in collaboration with PARKAPARAPLU.

PARKAPARAPLU: New dark wave duo from Antwerp. With ...

> EMMA ROTSAERT, singer and actress. She plays the lead role in the Ensor-nominated TV drama series ‘How To Kill Your Sister’ (2025). And comes from the same absurd planet as Vanthilt.
> GEERT VANBEVER, veteran of Wizards Of Ooze, Rudy Trouvé Septet, Dead Man Ray, Tuff Guac, among others... worked with Hugh Cornwell (The Stranglers) and Budgie (The Banshees), among others. Together, Emma & Geert also have a Sisters Of Mercy tribute band: Body Electric.

Ultra Knites Records welcomes Mike Sharon for UKR058, a refined and deeply effective 4-track statement shaped for the late-night hours. Subtle in detail, hypnotic in flow, and built with the kind of understated pressure that stays with you long after the record stops spinning. Pressed on 180g black vinyl, Genetica EP fits perfectly into that classy underground space: functional for the floor, but rich enough for close listening. A versatile release for selectors who value precision, atmosphere, and timeless dancefloor design.

Im April 2026 bringt Eaves Wilder ihr heiß erwartetes Debütalbum ,Little Miss Sunshine" raus. Die Platte ist ein krasser Entwicklungssprung für die Singer-Songwriterin aus Nord-London, die 2020 mit 16 Jahren mit ihrem selbst aufgenommenen Lockdown-Release ,Won't You Be Happy" zum ersten Mal auf sich aufmerksam gemacht hat. Eaves begann mit der Arbeit an ,Little Miss Sunshine" nach einer Phase des Nachdenkens, in der sie sich fragte, ob sie der Musik in ihrem Kopf letztlich gerecht werden könnte. Wer sich mit dem Album beschäftigt, entdeckt zehn Songs, die sich an den Zyklen der Natur orientieren, um die emotionalen Stimmungen zu erklären und zu feiern, die uns zu Menschen machen. ,Als ich am Boden war", erinnert sich Eaves, die an einer Stelle sogar lacht, als sie sich daran erinnert, wie sie beschloss, die Musik ganz aufzugeben, um in ein Kloster einzutreten: ,Ich wollte einfach nur unmenschlich, gefühllos und unbewegt sein. Wie ein Berg oder ein Baum. Oder der Himmel. Das sind alles Dinge, die einen Zweck haben, aber ich wusste nicht, was mein Zweck war. Und so musste ich es herausfinden, Song für Song." Auf Little Miss Sunshine wird diese Geschichte in spannenden Episoden erzählt, angefangen mit den ersten Sekunden des Albums und der Lead-Single Hurricane Girl, einer sensationellen Synergie aus durchscheinenden Shoegaze-Harmonien und elementaren Rockgitarren, inspiriert durch Dokumentarfilme über Sturmjäger, wobei die Metapher verwendet wird, um ein Licht auf Freunde zu werfen, die gezwungen waren, stürmische Beziehungen zu suchen. ,Ich habe das Gefühl, dass dies mein Pearl-Jam-Song ist", erklärt sie. ,Das erste Mal, als ich Pearl Jam hörte, war ich auf einem riesigen Berg in Wales. In derselben Woche hörte ich auch zum ersten Mal Jagged Little Pill von Alanis Morissette." Von hier aus, bis hin zu seinem schmerzlich bewegenden Requiem an die Kindheit Summer Rolls fungiert jeder Song auf Little Miss Sunshine als leuchtender Koordinatenpunkt in einem Bogen der Selbstfindung. Da ist der hochfliegende Klangrausch Everybody Talks, mit seinem ansteigenden Crescendo aus aufdringlichen Stimmen, der auf beiden Seiten des Atlantiks große Unterstützung im Radio fand. Für Mountain Sized bezog sie sich auf Lily Allens Single The Fear aus dem Jahr 2009 - ,weil da diese eine Frau ist, die ganz beiläufig all die schlimmsten Dinge über sich selbst aufzählt, Dinge, die man sich eigentlich nicht trauen würde zuzugeben". In Eaves' Song wird diese aufkommende Angst jedoch durch einen panoramischen Refrain ausgelöscht, in dem sie die Grenzen ihrer realen Welt durchbricht, um zu verkünden: ,But in my mind/But in my mind/I am taller than the highest mountain sides." In dem schmerzlich melodiösen ,The Great Plains" hinterfragt Eaves ihre frühesten Erinnerungen, in denen sie ihre ältere Schwester Dora vergötterte. ,Sie war so zurückhaltend und wie eine Meerjungfrau", erinnert sich Eaves, ,und ich wurde von meinen Emotionen beherrscht - und je mehr ich versuchte, das nicht zu sein, desto mehr wurde mir klar, dass ich niemals wie sie sein könnte." In dem Song findet Eaves eine Art Selbstakzeptanz, indem sie auf die Natur schaut, um zu erfahren, dass es okay ist, so zu sein, wie sie ist: "As I erupt into a blaze / It's ok the sky will do the same/Let no-one bat an eye when / Every year I'll hibernate till May / Because no-one blames the clouds for rain / So take me as I am, tears down my face." Als die Sessions an Fahrt gewannen, fand Eaves Inspiration in zeitgenössischen Veröffentlichungen. Beispiele dafür waren Wolf Alice (,die einzige Band, die die Balance gefunden hat, die ich immer suche - die Kombination aus schweren Gitarren und hohen, ätherischen Vocals"), Mannequin Pussy (,sie gaben mir etwas von dem, was ich in der Ära von Riot Grrrl vermisst habe, als L7 und Babes In Toyland auf Tour waren") und CMATs ,geradlinig brillantes Songwriting". Weitere Highlights auf einem Album, das von ihnen geprägt ist, sind Daisy Chain Reaction, dessen glitzernder Power-Pop-Glanz einen Text über die Kultur des Wettbewerbs rund um Essstörungen verbirgt, und der unangenehme, mechanisierte Angriff von Just Say No, ein Song, der auf den brutalen Wahrheiten basiert, die Eaves und ihre Freundinnen in ihren Auseinandersetzungen mit missbräuchlichen Männern gesammelt haben. Zwei Jahre lang hat Eaves unermüdlich daran gearbeitet, jeden einzelnen Vers, Refrain, Pre-Chorus und Middle Eight auf Little Miss Sunshine zu verfeinern, bevor sie mit dem Co-Produzenten des Albums, Andy Savours (My Bloody Valentine, The Killers, The Horrors), ins Studio ging. Dies ist ein Album, auf dem jedes einzelne Detail seinen Platz verdient hat und das Zeugnis ablegt von der einzigartigen musikalischen Vision seiner Schöpferin.

Volcov, the Veronese founder of the Neroli record label, returns to the BBE fold with the third compilation in his majestic series 'From the Archives' and once again this new installment is another collection of overlooked gems and unreleased beauties that are set to entice the discerning listener. As with volumes 1 and 2, 'From the Archives volume 3' features cherry picked songs that focus on melodies and weave a thread between eras and genres. From the Archives volume 3 is a genre free journey into authentic grooves which features music from the enchanted tones of Carlo Nino & Friends, an exclusive from Collettivo Immaginario, uptempo moments from remix kings Kaidi Tatham and DJ Spinna as well as two unreleased songs from Fred P and J2 Fusion feat. Javonttee and DJ Genius. From The Archive 3 represents another accomplished work of love from Volcov aka Enrico Crivellaro, who has a long list of albums and compilations under his belt as well as being involved in productions, edits, releases and projects with artists such as Dego, Theo Parrish, Phil Asher, Gerald Mitchell, Domu, Kaidi Tatham, Kirk Degiorgio, Patrick Gibin, Lars Bartkuhn, Ian O’Brien and many more. From the Archive volume 3 is released as a vinyl double LP and a digital download and is a compilation in which the music lover will be guided hand in hand through a collection of unreleased and hard to find songs that shift effortlessly between jazz and house, broken beat, ambient and soul.

Bobby and Martin Boer started experimenting with music in a small bedroom in their parental house in an apartment building on the 4th floor.
The brothers brought together rapper Da Smooth Baron MC and singer Peggy “The Duchess” to form their stage act. The first single “Can’t Help Myself” was released in 1990 and became an international hit in 1991.
multiple international hits were produced as 2 Brothers on the 4th Floor. Gradually changing the style from Eurodance into happy hardcore.
Singles like “Fly (Through the Starry Night)”, “Come Take My Hand” and “Fairytales” were international bestsellers and topped charts all over Europe.
The Very Best Of 2 Brothers On The 4th Floor is available as a limited edition of 1500 individually numbered copies on crystal clear vinyl and includes an insert.

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus.

Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trancelike spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and Ben McConnell (drums) to round out their sound and lock down the grooves that propel the album.

Mixed by Brian McTear and Amy Morrisey at Miner Street in Philadelphia, the band’s fully realized vision came to fruition, which left only the album art to contemplate. The band, wishing to further the gothic aesthetic of their sound, enlisted fashion designer and artist extraordinaire Hogan McLaughlin (Game of Thrones) to create the starkly beautiful line drawings of the front and back covers. The duo travelled to Salem, MA to complete the package with Courtney Brooke Hall, who shot the moody and evocative photographs that grace the gatefold release’s inner panels.

'Beyond The Beyond' is the highly anticipated tenth studio album from inter-dimensional space travelling explorers The Cosmic Dead, the album takes listeners on a four track expedition into the deepest cosmos of the band. Recorded at Dystopia Recording Studio in Glasgow, 'Beyond The Beyond' features the riff rolling rhythm section of Tommy Duffin on drums and Omar Aborida on bass guitar alongside soaring fiddle acrobatics from Calum Calderwood and electronic textural bleeps and bloops from Luigi Pasquini on synthesizers, all wah laden and with phasers set to destroy - Turn on, tune in and immerse yourself in the sound of The Cosmic Dead.

Kelly Green Vinyl, limited to 350 copies. 'Beyond The Beyond' is the highly anticipated tenth studio album from inter-dimensional space travelling explorers The Cosmic Dead, the album takes listeners on a four track expedition into the deepest cosmos of the band. Recorded at Dystopia Recording Studio in Glasgow, 'Beyond The Beyond' features the riff rolling rhythm section of Tommy Duffin on drums and Omar Aborida on bass guitar alongside soaring fiddle acrobatics from Calum Calderwood and electronic textural bleeps and bloops from Luigi Pasquini on synthesizers, all wah laden and with phasers set to destroy - Turn on, tune in and immerse yourself in the sound of The Cosmic Dead.

DJ Ron's forgotten classic 21st Century finally gets the release it deserves, arriving on 12" black vinyl alongside a brand-new Bladerunner remix Originally recorded for DJ Ron's debut album Quintessence back in 1997, Hospital Records proudly welcomes it back into the world in style. The A side carries the original in all its glory. 21st Century is a timeless and futurefacing weapon - analogue at heart, hand-controlled automation and carefully curated sounds take you centre stage, giving it a unique, personal texture and depth that has lost nothing with age. Flip it over and Bladerunner steps in with an equally powerful B side remix, bringing his own vision to a track that was always ahead of its time. Born and bred (and still resident) in Hackney, career-long Rinse/Kool FM DJ, the first jungle/ D&B artist to record an Essential Mix for BBC Radio 1, host of the London Something podcast and more, DJ Ron is a multi-faceted creative and an uncontested foundational figure within jungle and drum & bass. This 12" is long overdue. The first time that DJ Ron's '21st Century,' taken from his unsung debut album, will be available digitally & physically alongside a fresh remix from Bladerunner. One for the heads - this one is all about flying the flag for DJ Ron, one of the foundational figures of jungle and drum & bass.

Compare the best of British jazz circa 1963 with American sounds from labels such as Prestige, Tangerine and World Pacific. This album captures the period when rhythm and blues is emerging as the dominant club sound, forcing Soho jazz clubs to change their music policy in order to survive. On the British side, you’ve got Ronnie Scott’s arrangement of Last Minute Bossa Nova; Bang!, taken from Dick Morrissey Quartet’s first session for the BBC’s World Service, recorded around the time of the release of their first album Have You Heard? The version here is take two. You can hear take one along with the rest of the eleven-track session on R&B18 Jazz For Moderns.
Early In The Morning is a Ginger Baker/Jack Bruce arrangement of the traditional work song realized as a repeated blues riff, and is the first ever recording that is recognizably British Blues. Graham Bond features on alto sax along with Bruce and Baker together as members of the Johnny Burch Octet heard playing live at a BBC staff party from March 1963. Side Two features Jazz Stateside, such as West Coast guitarist Johnny Hartsman, Gene Ammons veering into proto jazz-funk on Jungle Soul, aka Ca' Purange plus a couple of top notch Hammond workouts from Terrell Prude and Charles Kynard.

"I think I have never met anybody, with the exception of Brazilian guitarists Baden Powell and Toquinho, as connected to his instrument as Agustín Pereyra Lucena" – Vinicius de Moraes

Far Out continues its exploration into the singular catalogue of Argentine guitarist and songwriter Agustin Pereyra Lucena with a special Record Store Day edition of his most celebrated album Ese Dia Va A Llegar.

Agustín Pereyra Lucena was one of South America’s outstanding guitarists. Hailing from Buenos Aires but obsessed with the music of neighbouring Brazil, Agustin abandoned his architecture studies to pursue music full-time, earning friendship and collaborations with Brazilian music's greatest figures including Vinicius de Moraes, Baden Powell, Toquinho, Dorival Caymmi, Maria Bethania and Chico Buarque.

Originally released in 1975, the album has been better known in some parts of the world as Brasiliana – a title repurposed by Agustín's European record label in the 70s to exoticize the sounds of South America for the continental market. It finds Agustin and band—which includes key collaborators Guillermo Reuter on contrabass, and Carlos Carli on drums and percussion— at their most blissfully laid back. The album features idiosyncratic renditions of classics by Antonio Carlos Jobim, Vinicius de Moraes, João Donato and Agustin’s personal hero and friend Baden Powell, alongside Agustín's own works which ooze with captivating mystical wonder.

The analog warmth of the recording is such that it feels like you’re there in mid-seventies Buenos Aires, on a balmy late night session at Estudios Audión, with a group of phenomenally impressive musicians. The heat generated is offset only by the cool temperament of everyone involved. On the handful of vocal tracks on the album, Agustin’s gentle voice is responded to by the liquid smooth vocals of Laura Hatton, Luis Maria Cosenza and Patricia Scheuer.

Agustin’s unique position in the annals of his continent’s musical history has been lovingly maintained by Agustin’s nephew Jose Luis Pereyra Lucena, who has entrusted Far Out Recordings to preserve and re-release Agustin’s works. The music has been professionally remastered at London’s Metropolis Studios, using multiple copies of well kept original vinyl.

Reissued worldwide for the first time under its original title and cover as Agustin originally intended, Ese Dia Va A Llegar will be presented in a limited edition obi-stripped gatefold replica sleeve.

A light yet ominous atmospheric intro opens Pugilist’s account on Waveforms, quickly showcasing the Spatial family debutant’s shrewd prowess for mid 90’s breakbeats. An instantly familiar vocal sample gunning for your mind body and soul punctuates proceedings while solid breaks lead into a crunching amen throwdown - edited superbly with tricky arrangements and glorious melodic synthwork.

Straight into the breaks without delay, a DJ-friendly intro from Pugilist quickly escalates into a scintillating amen showcase with crisp, detailed edits taking you right back to a dirty basement dancefloor rippling with underground energy in 1994. Peppered with samples and light vocal hits - not to mention the doomsday basslines ready to tear holes in your sub - Pugilist has announced himself in style to the waveforms label.

You may be excused if, seeing the dazzling China Moses on stage, online, or on-air, you thought that she, fabulous and French, an orchestra trailing her, with one of those light-up-a-room smiles you only hear about in myth, was someone who might only be singing cheery songs about her glamorous musical life. Not so. It’s complicated… vibrates with the joy, wistfulness, ambivalence, and wisdom of a woman who’s been on many journeys, down many paths, and landed here, in your ears, on purpose, with something to say.

Through these songs, China captures the many hues of grown Black womandom: her choices, her regrets; her place in society as both citizen and observer. Her voice is girlish and playful; gritty and growly; truly prismatic, as Anthony Peyton Young’s cover art suggests, to reflect the many lives she’s lived. And she does all this with vulnerability, a quality that transcends and supersedes genre, taste, or ability. Of all the tools a singer-songwriter could possess, it might be the most important one. Though there is bravado here (“I can be happy”, the song and the video, are the best example), this is an album that taps into the full, resplendent spectrum of human experience, its many facets hewn into these 10 gems before you.

It’s complicated… and it’s complex. How could it be anything else?

— Kyla Marshell

POD & Edward Richards bring you part two of their journey into languid tempos and sonic explorations following their ‘Polar Phase’ EP. Mixing World Music, Techno, and Bass, the record flows with a deep narrative evoking worlds both illusory and known. Imagine an otherworldly voyage, chanting Shamans and tribal percussion, ayahuasca ceremonies, lifting the veil that separates worlds, the record looks to lift the listener and transcend the mundane plane into other dimensions. Pugilist nails the idea with his remix of the title cut, both invoking the deep tribal atmosphere whilst bridging to the world of club music.

If you like cold-wave music and you’re nostalgic of the 80s, “Lines & Parallels” by French Swiss trio Factice Factory clearly reveals multiple parallels with this golden decade of dark music. A delicious propulsive bass, cold synths and lots of atmosphere. A dark and at times even claustrophobic atmosphere.

On the release, two musical sides can be identified: two lines or parallels. An electronic and more hypnotic side with the Neue Deutsche Welle-like “Leuchtturm”, the minimal film noir tribute “Audran”, the eighties sounding “Sway” or the harsh industrial tainted “Extinguisher”. The other line is to be heard in tracks such as the desperate and goosebumping “Defeat”, the oriental sounding “Hatch End” or the melancholic end ballad “The Weeping Willow” These two parallel lines finally merge into one single and united sound pattern, a delight that will surely find its place in the ears of many dark music addicts.

Opening with an instrumental blend of old school synthwork, delicate breaks and an inquisitive plinky melody, the track soon bursts into life with old school rave vocals joyfully screaming “everything you do”, setting this firmly in the mid 90’s, as is the Waveforms way. Trademarks of Law’s distinctive atmospheric style - heard previously on sister label Curvature - are present, toying with breaks effortlessly with a variety of effects thrown in for good measure.

Easy-going synths, washing waves and elegant bongos introduce Waveform 18, before filtered breakbeats are flecked, scattered and multiplied across a collage of samples as the breaks charge up. When the drop comes it hits hard as Law expertly chops and edits a cacophony of amen goodness, with smothering sub bass rumbling below creating a memorable, retrospective slice of old school beats.

A collection that balances soulful vibes with modern an edge. Saison's "Can't Get Through" opens with deep textures and a classic house swing, while Piem, Saison & Kid Enigma's "Don't Stop" injects vocal fire and raw energy into the A-side. Flipping over, Matt Gillespie's "Need You Now" layers warmth and urgency into his take on the classic garage sound. Closing the record, Scott Diaz & Miss Yankey's "Intergalactic (Alternate Rub)" ventures into more garage territory with its atmospheric pull and soulful chords. A versatile package that brings together established names and rising voices in perfect balance.

For its third release, Honey Trap turns toward the instinctual. Ritmo Animal is a record driven by body memory, where rhythm becomes language and movement becomes communion. Vancouver- and Colombian-rooted duo Dosis weave club music with lived histories, drawing from punk ethics, soundsystem culture, and a deep commitment to collaboration.

Formed by Daniel Rincon and Zachary Treble, Dosis operates in the space between structure and looseness, where grooves feel hand-built and edges remain intentionally rough. Across five tracks, Ritmo Animal resists clean categorization. House mutates into dub-soaked psychedelia, vocals surface and dissolve, and percussion swings between discipline and abandon.

The A-side opens with “I Want To Be Your Dog”, a low-slung, hypnotic burner featuring Alien D, setting the tone through repetition and restraint. The title track, “Ritmo Animal,” anchors the record in motion, with saxophone lines from Dave Biddle threading through percussive momentum and grounding the track in something tactile and human.

On the flip, “Malibu” offers a softer pull, with Hannah Acton’s vocals drifting through warm, unhurried rhythm. “Humo,” featuring Hashman Deejay, leans deeper into smoke and sway, while closer “Sancocho” stretches time entirely, favoring communal simmer over destination.

Ritmo Animal is music made for shared space. It is not concerned with polish or purity, but with connection, between scenes, cities, and bodies on a floor. Another chapter in Honey Trap’s ongoing exploration of intimacy, pleasure, and rhythm as refuge.

Prince De Takicardie takes the reins at Opia for our 19th release, channeling a heady mix of polished trance and shimmering prog through his deep dancefloor excursions into all things euphoric. Bass lines twist and roll to ground the EP in a strong sense of pace and momentum while hazy pads and arpeggios whirl and hum to gently nod towards a mellower Balearic influence, all the while still maintaining the energy needed to slot neatly into a peak-time record bag.

Plastik People deals in house & garage done right. This latest drop is a split EP between Marc Cotterell and Dominic Balchin and opens with 'The Trumpet Track', which is exactly that. 'Baby Do You Feel Me' is unabashed vocal joy, while 'Oh Lord' sinks into deeper house with shapeshifting chords that keep you moving. 'Rhythm Of The Vibe' is a New York homage with shades of Kerri Chandler and we can't get enough of it.

BODYSYSTEM is the solo project of Finlay McCarthy (synth player for Glasgow art-pop innovators Walt Disco). "Flowerbed" is his debut EP on KIN-TU Records, blending melodic electronics, skittering breakbeats, rave textures, and emotionally charged songwriting.

The EP includes collaborations with Tiger Cohen-Towell (Divorce) and Pearling, bringing two distinct vocal turns to the record. "I’m Still Available" lands as a yearning pop-dance cut with restless breakbeats and rave pressure, while "When I See You" (feat. Pearling) leans into a luminous, emotionally warm club feel. The EP closes out the KIN-TU003 campaign and marks a strong debut statement from a Glasgow artist already known for his work in Walt Disco.

A great name. A great cover. And - of course - outstanding library music.

Soul City Orchestra's Meal Ticket houses titanic funk, mellow groove and symphonic disco-soul.

Released in 1977 on Rouge, a subsidiary of the prestigious and long-established British library label Music De Wolfe, Meal Ticket was crafted by the studio band Soul City Orchestra (a pseudonym for the De Wolfe in-house composers Chris Rae & Franck McDonald).

The driving instrumental funk-rock of the A Side is enhanced with strings and no little drama. However, it's undoubtedly the peerless flipside that makes this record an essential part of any collection.

Head straight to highlight "Chamber Maid"; insistent, conga-driven funky rock with lashings of string-heightened drama. It's sophisticated, classical and deeply classy.

The majestic, powerfully emotive "Sore Head" contains an excellent intro drum break and sultry slo-mo disco breaks throughout. It's low-key stunning. With a few melodic switch-ups, it's symphonic soul heaven and is comfortably the best and most beautifully crucial track on Side A.

The breezy, Philly soul-tinged "Short Change", its intense strings reminiscent of the Salsoul Orchestra and TSOP, presents an easy-glide funk that's just irresistible.

The funky, cool and slick AF "Wheeling And Dealing" is laconic flute and string-propelled sophisticated mid-tempo disco soul. It's worth the price of admission alone.

The breezy, mellowed out disco-funk workout "The Jam" is a deliciously slinky and sophisticated soul strut. Try not swaggering into the club with this in your head next time you venture into the murky world of "the night". Just ace.

The crowning glory is the sweeping, sublime symphonic disco breaks of horn-infused "Soul City Drive", an absolute monster of radiant heavy soul-funk à la Barry White with great string & brass arrangement.

Basically, this is essential for all groove-aficionados.

The audio for Meal Ticket has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Great Day is one of the very best albums on the Music De Wolfe label and certainly one of the most sought after library records, full stop. It's been sampled by such heavyweights as Madlib, LTJ Bukem, El-P and The Alchemist (among many others). You likely already know all this. If you don't, get to know. One listen through and the £350 asking price for a VG copy starts to all make sense...

Originally released in 1972, it's credited to Music De Wolfe legends Simon Haseley (real name Simon Park) and "Peter Reno" (a collaborative alias used by composers Clifford "Cliff" Twemlow and Peter Taylor) Confused? No matter. It's one of the most consistent libraries you'll ever hear, packed with heavy blaxploitation-esque drama-funk break themes.

It opens with the feel-good, breezy piano beat number "Little Big John" before switching up to modern sweeping orchestral with heavy drums on the warm, deeply emotive "Summer Friend". Total highlight "Hammerhead" is as heavy as you'd want, from a track so-titled. It's a driving, imposing, orchestral funk-rock monster, famously used by The High & Mighty for their classic "Dirty Decibels" and, also, it was used as the backing for Beyonce's ace "Woman Like Me".

Up next, "Crimson" is melodic, plaintive and moodily introspective; a soft, oboe-enhanced instrumental of delicate beauty. Again, ace beats and breaks abound. The expansive title track, "Great Day" is melodic and bold; a horn-fuelled, mid-tempo rhythmic workout which builds to rather big end. Rounding out this first side, "Hard Crust" ups the ante with thrilling wah-wah funk-rock, a dramatic, pounding and aggressive thriller. Killer!

Side B opens with the steady, stealthy crime-funk of "Highball" before segueing brilliantly into the Hammond-laced relentless flute-funk of the driving "Bora". The powerful wah-wah wonderful "Hold Back" is haunting orchestral funk-rock, sampled by Madlib, El-P, Rakim, Sean Price and The Alchemist. It's easy to see why. Swaggering and staggering.

The cop show funk of "Silver Thrust" is fast, purposeful and persistent. Is it a cover version of the godlike "Stepping Stones" from Johnny Harris's Movements album? Either way, with up-tempo drums, bongos and flute you're going to be thrusting all night. The dynamic "Convoy" is a brassy, organ-fuelled sports-soundtrack b-boy breaks monster. Super Bowl Soul! Essential. To close out this quite extraordinary set, the insistent "Barracuda" presents dramatic rock feels over a persistent funky flute beat. It was sampled by LTJ Bukem for his classic "Sunrain" from 2000.

The audio for Great Day has been meticulously remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

With Morocco Palace, Cybercafé aka Adam Dirk’heim delivers his very first full EP on Sequence Records - a record that balances raw energy and melancholy, blending emotional depth with a strong, forward-thinking dancefloor edge.

The EP opens with Electroskit, driven by an electric, almost extraterrestrial voice, before diving into raw electronic textures that set the tone. Dance & Control marks a first shift with its slow tempo, massive modulated synths and stretched tension. Then comes Nightshade, where the energy rises further through a rhythmic and emotional build-up carried by deep, melancholic, yet dancefloor-oriented synth lines.

On the B-side, Don Dolor flirts with instrumental EBM influence, while What Am I Talking About? closes the record with a hypnotic groove that stays with you long after the last note.

Morocco Palace lays the foundations of Cybercafé’s universe: a subtle balance between introspection, intensity, and dancefloor energy.

Stepping up for Punctuality number 8 is the dynamic duo of Ciel and Matthis Ruffing. Needing little introduction, both artists are prolific producers and collaborators across tempos and genres. Toronto-based Ciel has released music on labels like NAFF, Peach Discs, and !K7, while Berliner Matthis Ruffing’s work can be found on International Chrome, Infinite Drift, and Strictly Strictly, to name just a few.

Bonding over a shared love for the techno stylings of Claude Young and early 2000s tech/prog house from labels like Future Groove and Slide, the duo’s collaboration began with a spontaneous jam in Ruffing’s Berlin studio during the summer of 2022. With an organic studio chemistry, the pair continued to jam over the following years. Hot Squid is the result of these studio experiments: five tracks of sleek, muscular, contemporary tech house that fluidly distill the creative visions of both artists—slick, shimmering grooves, heavily weighted for the dancefloor.

The title track, Hot Squid, weaves dubbed-out waves of FX and low-end sonics around metallic, staccato drum bursts, sci-fi pads, stuttered vocals, and syncopated snares that flit and flicker around a rolling bassline reminiscent of golden-era UK tech house from the late ’90s. Roza Terenzi’s remix flips the original into a modern, low-stepping tek roller—a mind-bending re-fix that puts more focus on the snaking vocal groove and a sparser percussion arrangement, filled out with lustrous textures and razor-precise sound design.

On Little Voice, glossy synths and spiraling atmospherics cascade around a mesmeric vocal line, while tightly wound, minimal drum loops give way to a swaggering bassline that barely relents throughout the track. The result is a satisfyingly boshy, groove-driven roller, fit for the dancefloor at any time of day.
Late Summer maintains the EP’s high-grade production standard in the form of a dreamy, electro-leaning tech house number, resplendent with deep, pummeling kick drums, woozy low-end, and organic sonics. Its plucked melody and introspective pads nod to halcyon-era IDM and the Detroit techno that inspired the duo in creating Hot Squid.

The release culminates in Bong Bong—a meditative dancefloor tool suffused with ASMR-like nature documentary samples that lend the track a psychedelic intimacy. Careening percussion lines and swooning chord stabs anchor the rhythm, while the title’s “Bong Bong” mantra hums beneath the surface, carried along by barely perceptible sub fills and ultra-processed percussion. A cohesive, unique, and enduring take on seminal tech house and Detroit techno from Ciel and Matthis Ruffing.

Saxophonist and producer Ben Vince announces the release of his sixth album, Street Druid, the first in almost six years via AD 93.

Street Druid merges acoustic, manipulated and electronic sound and it has saxophone, synth, voice, guitars and drum machine, and features drum kit from Moses Boyd. It features artwork by Byzantia Harlow. It is at once tender, psychedelic and fierce. It is not interested in genre or category. It lasts just under 45 minutes.

A prelude for the future, hands join to cast a peace spell. Consciousness is vast water seeking divine essence and meaning where colours merge and refract. The street druid walks through the night, a benevolence in the darkness, guiding you home. Immersed in noise, life can feel empty, like hollow vessels, a sentient interlude. At times we are found in Gaia’s rhythm, kinetic and rebuilt, transcending through the impact of sound on the body. Every moment is a new change, a new challenge, a new life, we must ride the wave if we are not to be caught adrift or drown. Trying to keep hope intact, we must not retreat into fear, recognise we all live here in Longville and stop the fire before it engulfs us all.

WILDSTYLE HOUSE is a new compilation series where Toy Tonics invites producers and DJs that have a very special, funky, unique sound to make one new track. The compilation should show the variability and diversity of house and disco TODAY. Like the wild music mix you can hear at the Toy Tonics events and the way Toy Tonics DJs combine many different styles of "4 to the floor" music into one new soulful, multi-style, and warm-sounding blended "genre." It's about the groove, about a new soul sound, the human feel, the organic and Y2K-inspired dance music that is growing and appeals to a new generation of dance music lovers.

This first part of the compilation includes unreleased music by:

Afro-funk and salsa-house producer talents ELADO, MUSTA, and ALMA NEGRA.

Garage house maestros MELON BOMB and Italian musician DANIEL MONACO (known for his New Wave disco and proto-house releases on Rush Hour and his work for Antal).

MARLA KETHER, the London bass player and DJ, who is known for her work with Little Simz, Oscar Jerome, and Loyle Carner, and has now started to release her own tracks.

Argentinian singer, musician, and DJ ALOT, combining proto-house vibes with Spanish rap.

Funk house producer and edit maestro PAUL OLDER, who is starting to become one of the key names of the new soul house scene (supported by DJs like Folamour, David Penn, Seth Troxler, Kirollus, Breakbot...).

And also Toy Tonics' own GEE LANE, KAPOTE, and ARPY BROWN contributed new tracks.

In the late ’90s, Trance Induction, the project of Tjeerd Verbeek, established a truly unique sound by fusing acid house, ambient, techno, world music, breakbeats, and industrial new wave. Now, three carefully selected tracks from his extensive catalog are being remastered and released on vinyl.
The A1 track, “Join The Circus Of Dr. Lao 2,” has been a long-time favorite of label owner Tomoki Tamura, frequently featured in his DJ sets over the years. A2 delivers a deep, bouncy groove laced with trippy acid sounds that take the floor on a hypnotic journey. On
the B-side, you’ll fi nd the original version of “Join The Circus Of Dr. Lao” — appearing on vinyl for the first time ever.
Step into a sound world only Verbeek can create. This is a release not to be missed.

“Mi Manifesto” = “I just show up”. No warning.

MI MANIFESTO is an album slow-cooked—actually, really slow-cooked—pretty much over a match flame. It’s a little peek into my everyday life. If you stumble into it, you might bolt… or sit down, watch it unfold, and let this train hit you head-on. It’s not an album for everyone—only for those who walked in, got it, and decided to stay.

Pressed on a brilliant acid-yellow 12”, this special release is packed with surprises:
Each copy includes a custom insert by Pan Dan featuring the album’s lyrics. Inside every package, you’ll also find a personalized surprise gift — a small creative token straight from Pan Dan’s imagination. It might be playful, poetic, unexpected… or all of these at once. In any case, it will always be yours alone.