Cerca:keys

Kaiso Power is a collection of rare jazz, calypso and percussive gems from Trinidad and Tobago from the revolutionary generation of the 1970s, bringing radical new political vision and reclaiming ancient spiritual consciousness through music. At the dawn of the 70s a shift was taking place all around the world. The streets of Port of Spain thronged with Black Power marches, trade union demonstrations and Carnival protest bands - one epicentre in a growing global exchange of ideologies and strategies among Pan Africanist circles in Jamaica, Guyana, London, New York, Montreal, Lagos, Accra and beyond. And when the meetings were over, the revolution moved to the cramped secret dance halls, the Carnival fetes, the steelband yards. The music always had a sharp edge. Searing commentary has always been part of the various types of music in Trinidad, and in the absence of lyrics, the defiant use of the drum maintains the resistance, as well as the re-framing of the playing of European instruments to the needs of the message. Lancelot Layne, Delano Abdul Malik De Coteau, Andre Tanker, Clive Zanda, Mansa Musa were more than artists, they were teachers, community workers and advocates for justice. These recordings are as raw as an all-night Carnival jam, the horns loud, the percussion ringing out, the bass dripping with joy and rebellion. Under the modern influences is a solid rhythm, an unbroken connection to Africa, the songs and keys and cadences brought across the middle passage. These songs are a peep into the untapped treasures of a revolutionary generation, looking at the world with fresh eyes and believing that music was a central part of the mission to build consciousness and regain confidence.

Fort Romeau debuts on Rekids with the ‘Lovin’ U’ EP.

The British producer's three-track release lands this September. London-based DJ and producer Fort Romeau arrives on Rekids with the ‘Lovin’ U’ EP, releasing 11th September 2026. Opening the release, the title track beams sunshine through 8-bit melodies and a repeating, hypnotic vocal shot through with tasteful echoes, all underpinned by a tight drum groove. ‘No Limit’ dives into more of that endless depth, its vocal sample floating over the groove as delectable piano keys bring the party. Closing things out, the Trip Mix of ‘Breathe’ eases the pace, snappy rhythms laying the foundation while dubby chords spring through a track built for daydreaming.

Fort Romeau, aka Michael Greene, has spent more than a decade shaping a sound that blends deep house, hypnotic techno and ambient influences. His productions have appeared on labels including Ghostly International, Running Back, Live at Robert Johnson, Cocoon and Permanent Vacation, alongside more than 100 remixes for a wide range of artists. As a DJ, he's contributed mixes to BBC Radio 1's Essential Mix, the Resident Advisor Podcast and Circoloco Radio, while his latest EP for Rawax became one of Juno's bestselling records of 2026.

A deep cut from the extensive back catalogue of South African group Splash, significant artists in the narrative of the country’s fiercely independent Gallo Record Company, CWPT presents two uplifting mixes of 1990’s ‘An Eye For An Eye’, arranged by a modern day hero of the craft, Lipelis.

Originally released in parallel with the official beginning of the end of South Africa’s decades-long Apartheid, lead vocalist Daniel Tshanda dispels the philosophy of the track’s title, instead offering a still poignant call for unity; “An eye for an eye is no good… Let’s live together as one.”

Lipelis’s carefully crafted take retains this sentiment front and centre, while nudging the arrangement toward contemporary dancefloors, enriching a steady and bubbling mix of colourful keys, bubblegum percussion and a lifting backing chorus that includes another Gallo sensation, Dalom Kids.

These same voices form the spiritual centre of Lipelis’s 12” dub version, which further demonstrates the track’s irresistible rhythm, making space for complimentary piano melodies from Lipelis, alongside collaborator Eugene Piankov. Here, sunsetting piano lines dance with the analogue techniques of Lipelis’s own production instincts, forging a blissful tribute to a potent moment in South African musical history.

Connecting Dots Records CDR001 Self titled debut release from Detroit based record label.

CDR plans to be a vessel for more human connection in dance music and beyond in the digital age. This first record ended up

having a life of its own when it comes to truly connecting with people who are giant's in Detroit.

All 3 tracks on this record include
Javonntte - Keys and Synth
Ben Green - Trumpet
Dez Andres - Conga's

A1 SUNSHINE - Starting off with an open trumpet arrangement over a 4/4 drum groove with whispering gospel chops before
a full breakdown into The Clark Sisters "you brought the sunshine" vocals. Conga's leading the groove into smooth keys and organ riffs.

A2 STEP OUTSIDE - Bangin instrumental with heavy bassline with a Latin inspired conga groove.
Trumpet stabs with biting synths weaving through the percussion. Synth solo's to switch thing's up into each breakdown.

B1 ALL MY LOVE - Shaker's are dominating the groove until a flowing synth solo lead's your ear's into
Michael Watford's vocal chop's. Feel good vocal's about love right before the full breakdown into a trumpet
arrangement over percussion. Bangin bassline bring's everything back in just in time for the full organ solo

Turn the page to a warmer chapter. The second instalment of our Seasons 2026 collection has arrived. This carefully curated compilation captures the golden warmth of the season, the laid-back rhythms of lazy afternoons and the soothing atmosphere of endless summer days. Packed with hours of gentle summer lo-fi, this album is your perfect companion for soaking up the sun, focusing on your work sessions, or unwinding after a long day.

London based duo Curbside Lambsear have announced their debut EP Put Rings On All My Fingers To Weigh Down My Hands out 11 September via Scenic Route. The duo comprised of Magdalena McLean and Annabelle Mödlinger have also shared new song ‘No Ordinary Word’.

Mödlinger and McLean met performing in The Umlauts and McLean is also a member of caroline. Curbside Lambsear is their outlet to explore rough textures and soft intentions, a space that combines the meticulous and the improvised. The announcement follows their debut single ‘Man The Door’ and was first revealed in their interview with The Quietus.

Curbside Lambsear say, “This EP came from experimentation and is composed of all the sounds we felt drawn towards while making music together, all the noise and melodies we came to be in agreement about, all that emerged while testing and probing what felt right. Some of it was found, some of it was built, some of it happened by accident while cycling down a narrow lane. Like the hands in the EP title, extremely adorned, weighing down on the keys of a keyboard, these songs are precious to us and needed to be spurred on by the mutual curiosity of what could be done if we started trying. We had a lot of fun making these songs and we hope you enjoy them.”

2026 Repress
12" - Fully Authorised Reissue on Original Release Label!

Canadian deep house don Nick Holder's Fruit Loops EP is next to get the remaster and reissue treatment from Definitive Recordings. This label, now overseen by Get Physical Music, first released the EP back in 1995 when Toronto-based Holder had already become one of house music's most tasteful operators. He went on to release over 125 EPs and singles under countless aliases, in various groups, and on his labels DNH Records and Treehouse Records, as well as !K7 Records and NRK. His style spans house, disco loops and minimal Chicago grooves and is always high on immersive atmosphere. Opener 'Dance Dance Dance' brings together all those aspects of the Holder sound with its funky guitar riffs looping beneath raw drums and disco basslines. Classic Chic samples burst out of the mix to bring an air of celebration and party, and it makes for an irresistibly feel-good sound. 'Keep on Running' is a steamy and sweaty house jam with loopy drums and bass and more smartly chosen samples, this time from Roy Ayers, that bring the funk and never let up. It has long been a go-to anthem for house DJs, and the realness and rawness of the emotions in Holder's work also shine through with the filtered synths and jazzy keys of 'The Message of Love', which is complete with bumpy and irresistible drums. Last of all is the unfettered party spirit and diva vocals of the brilliantly lo-fi funk-house pumper that is 'Clap Ya Hands'. This EP hasn't aged one bit and remains a definitive piece of early Deep House history.

Over the course of more than four decades, Andrew Chalk has created one of ambient and experimental music's most distinctive, influential, and enduring bodies of work. Though his recordings have taken many forms—from the raw, post-Industrial sounds of Ferial Confine in the 1980s to the fragile guitar meditations, blurred keyboard studies, and richly textured collages that populate the Faraway Press catalogue—they remain united by a singular sensibility: an uncommon attentiveness to atmosphere, nostalgia, and the power of restraint.

Mystical Obscurant offers a rare opportunity to encounter the expansive character of that oeuvre in miniature. Rather than documenting a single period or methodology, it functions almost like a survey of Chalk's musical language—a collection of new music that illuminates the breadth of his practice while distilling the singular vision that unites it.

“The Sea of Sorrow” and “Peacemaker” feel cut from the same cloth as the sacred guitar minimalism of The River That Flows Into the Sands, while “Against the Tide” would sit naturally alongside the smudged and distant keys of Blue Eyes of the March. Other pieces draw upon environmental sound and loop-based constructions, hallmarks of Chalk's more recent, vignette-like compositions. Though these recordings emerge from different moments in his long creative journey, each inhabits a recognizable world: one where melodies drift in diffuse, unhurried forms and sound gathers with painterly grace.

What is most striking when these pieces are heard together is not their difference but their coherence. Across changing instruments, collaborators, and approaches, Chalk has consistently pursued a subjunctive music of suggestion rather than declaration, creating spaces where memory and imagination are allowed to unfold at their own pace.

Layered guitars, synths and wordless vocals set the scenery in this epic, beautiful and introspective solo debut by musical wanderer Lynn Wright.

Wright, who has mostly eschewed developing a fixed artistic identity throughout his already long career, has preferred to remain on the periphery of collaborative projects and behind the scenes. It took until recent times for him to make “Before The Sinking Plains”, which arrives as his first solo recording after decades of traversing underground scenes in New York and beyond. Wright defines the album as “a collection of atmospheric compositions structured as songs or songs masking as atmospheric compositions.”

The album began during a long neurological illness as guitar loops Wright would make each morning in his apartment and let play quietly in the background. At some point he began recording the ones he liked and adding layers of treated guitars, vocals, and synths, and then, eventually, giving them defined structures. The album features none of the aggression of his louder bands and improvisatory projects, but retains the dark hues.

Before The Sinking Plains lives on the familiar peripheries of our post-everything sound world, with elements of everything from washed-out dream pop and atmospheric drone works to sparse noir folk and minimalist vocal composition moving within the linings of Wright's subtle yet grand pieces, creating a perfect backdrop for watching the sky merge with the vast open fields.

Since relocating to Berlin some years ago from New York, he has worked closely with composer Simon Goff, who mixed his current album, as an editor, engineer and composer on various film and recording projects. He also plays lap steel guitar in Swans bassist Dana Schechter’s band Insect Ark. This is just the top of the iceberg when it comes to Wright's collaborations and projects throughout the years.

The second volume of this (already) cult series of British proto-metal compilation albums. Every artist on here was a regional band in their local underground scene of the late 1960s/early 1970s. The main thing that differentiates this series to any other, is the fact that none of the artists included had any kind of commercial release during their existence (apart from Fusion Farm, who self-released an extremely rare private press LP titled 'Rush Job' in 1971). All the artists were discovered after extremely lengthy searches of old music magazines, local newspapers, concert posters, government agencies.... By any means possible! It was a lot of work, but the results speak for themselves. The one thing that joins all these bands together (apart from being exclusively British), was their desire to play as loud and heavy as possible. This was a magical era in rock music, where Black Sabbath were the undisputed kings, but the industry simply didn't want to recognise the countless other band that existed in their gloomy wake. All of the recordings on Yeah Man, It's Bloody Heavy! are taken from demos, whether originating from crusty old 1/4 inch tapes, dusty acetate discs or third generation cassette tapes. Basically, whatever format was available. As a result, sound quality varies, though we did our utmost to get these precious artefacts sounding as killer as possible. For instance, Bonehead were close friends of Led Zeppelin. Their guitarist/vocalist Paul Lockey had previously played with Robert Plant and John Bonham in the Band Of Joy. Their track, 'Free To Escape', was actually an audition tape for Atlantic Records, which had been instigated by Robert himself. Unfortunately, the band broke up not long after the recording. So, their recording is top notch, whereas others were taken from rehearsal tapes (such as Fusion Farms' - Keys To Hell). But the main thing is, there's a spirit that unites them all. Sit back, roll up a fat one and let your mind be blown by the obnoxious sounds and sheer weight of vintage gravity that is: 'Yeah Man, It's Bloody Heavy! Vol 2'.

The opening chapter of our 2026 Seasons Collection has arrived. This curated compilation captures the very essence of spring, the sound of blooming nature, soft sunlight, and the quiet joy of a fresh start. Featuring hours of cozy spring lofi and gentle chill music, this record is your dedicated companion to help you relax, reset, and find your flow during your daily rituals.

South Coast artist Howman lands back on DNO Records for his second outing, ‘Trap Eastwood’. First introducing his heavyweight fusion of rock, hip-hop, dubstep and electronica via his outstanding 2023 debut, ‘Moon Operator’, the multi-instrumentalist and producer returns with a refined palette. Still bearing the first class musicality, rich layering and imaginative sonics that we’ve come to expect, the new EP is more stylistically focused than its predecessor. This time, Howman homes in on a spot somewhere in the 140/dubstep/trap sphere, decorating it with digital fizz, alien bleeps, snarling bass, and the signature gruff twang of guitar that makes his music feel deeply personal and eternally human.

The title track is perhaps the most prominent example of the latter, where Howman’s Western-esque riff conjures up the tension before a duel at high noon, while the bend and wobble of each string shapes the movement of the track like the curves of a rattlesnake.
But it’s a constant from the start, like on opener ‘Strip Search’, with its cinematic guitar intro, and combination of repetitive keys, earnest strings and bear-hug bass that nods to classic hip-hop.
Or closer ‘Fatigue’, where the layers of stuttering plucks, emotive melody and scratchy slide noises form a downtrodden soundscape plagued by police sirens and punctured by “Champion Sound” snippets.
On ‘Navigator’, Howman’s approach is more subtle: fluttering strums and a simple bassline creating a brooding, enigmatic vibe in stark contrast to the urgent, alarm-like stabs which first grip the attention.

Throughout there is an overriding sense of the unknown. ‘No Spring’ weaves drawn-out flute notes, tinkling percussion, super-massive 808 lows and spurts of breakbeat into a twisting, winding thing that wants to lure and enchant. While ‘Frosty’ is as ice cold as its name suggests, murderous bass meeting a spidery piano melody in dread-inducing matrimony — along with snatched words from some familiar faces outside a Berlin edition of THE MINE.

Produced between 2022 and 2025 across various locations, influenced by Howman having to move into more solo live performance (as opposed to his previous band setups), and miraculously surviving a catastrophic data loss incident, the EP is a snapshot of disruption focused into creative cohesion. We’ve been told, however, that it’s not a new direction or a sign of things to come, which only serves to make his next release that much more enticing, that much more of a mystery.

Rhythms of postmodern realism at the very bottom of the DNO.

You'd be hard pressed to name a song with the driving, emotional intensity and raw energy of the Hamilton Movement's anthemic ode to heartbreak, "She's Gone." Issued as the B-Side of the band's 1976 single "We're Gonna Party," and distributed in and around Indianapolis, there is no evidence the song garnered significant attention upon release—yet over the past fifty years it has amased a cult of devotees across the globe. But while interest in the group's music remains strong, little information has surfaced about the Hamilton Movement's history, and until now, there have been no official reissues of their work. This collection presents the band's discography, alongside previously unreleased music discovered on tape; it is the Indianapolis soul album that should-have-been.

The keys to the Hamilton Movement's mystery can be found in central Indiana, where promoter Dick Melvin has lived the past few decades, in a rural suburb of Indianapolis, amidst forests and cornfields. Melvin served as the group's manager throughout their entire existence, but his involvement extended far beyond typical managerial duties. He co-wrote and co-arranged the band's music; he produced and released their recordings on his Look Out label. Dick is also the band's archivist. His home is filled with boxes of demo sessions, live tapes, contracts, posters, and promotional photos documenting his work with the Hamilton Movement. He entrusted his archive to Now-Again's care and they've assembled this album under his watch. Dick's story, and the story of his band, are presented in an extensive, oversized booklet with Dick's rarely-seen photos and ephemera and words by Now-Again's Egon and Naptown historian Kylie Long.

Through a collaboration with Cincy label Chiefdom Records comes a fresh 45 on Colemine from Doctor Bionic. Both cuts from this 45 feel Colemine-core: funky, dirty drums, jazz keys and guitar, and a groove that just won't quit. Put "Expert Witness" on during your next DJ set and watch the floor fill up. Ohio's take on much of the funky west coast jazzy funk over the last couple of decades. Doctor Bionic is nothing short of prolific, having released over 10 albums in the last five years. Keep your eyes on this up and comer on the scene. And don't forget to flip it over for the nightcap. "Mistake" is a mellow guitar driven tune to close out the night in a melancholy way. Sparkling Rhodes, sparse guitar, and driving drums are the order of the day.

Pacific Northwester Drew Sullivan is the man behind the Slow Dancing Society and on his latest album, he interrogates nostalgia with clearer eyes while sculpting analogue glow, treated guitar and patient ambience into scenes that breathe. Tracks drift like headlights through snow - hums, howls, bass rumbles, rain-veiled keys all feature, each motion subtle, deliberate and devastating. The record's power lies in restraint: chord changes feel meteorological, melodies arrive as messages, then vanish. It's ambient music with a spine, grief without spectacle. By the time 'Blue Suburban Skies' lifts into Twin Peaks-levels of ache, Sullivan has rebuilt a world you want to hide away in forever.

Superhero? Supervillain? Super WHAT? CZARFACE & MF DOOM's newest team-up record Super What? is, much like the Avengers' arch-enemy Thanos...inevitable (and all-powerful!).

The icon MF DOOM unleashes his wizardry and wordplay throughout the record, while CZARFACE (bolstered by the legendary Wu-Tang Clan's Inspectah Deck and Esoteric) slash through each of the Czar-Keys' produced tracks as the team raises the bar on their previous LP, Czarface meets Metalface (2018). Featuring golden-age superhero DMC (of RUN-DMC) and Hieroglyphics' leader Del The Funky Homosapien, with art by longtime CZARFACE co-creator Lamour Supreme, this album will bring all
the thrills of a cosmic summer blockbuster.

Recorded and slated for an early 2020 release, and paused while COVID raged, this collaboration of masked men is finally finding its way to you on all formats.

A sequel to 2011's communication from our future selves on 'The Spectacle of Light Abductions', this new endeavour by restless netherzone  traveller Spencer Clark envisions a space map towards the other side of human life.

A meditation on the paintings  of Vedran Kopljar, these two side-long pieces, recorded and performed at Kopljar's exhibition at Muhka Museum in Antwerp in 2024, tap into the barren world inhabited by Clark while wandering what he calls the "Abomination Plateaus".

Searching for meaning amidst the landscape, 'Abyssfields' turns Clark's keyboards, sampler and wha pedals into sentient beings, roaming a luminous sound field of low res percussion, glistening keys and mangled voice-like transmissions. Featuring Athens-based John Also Bennet on flute, 'Abomination Plateaus' layered misty pads hover above a recurring driving-pinging loop, unlocking new harmonic spectres throughout each passage, suspended in the light. Always enveloping. 

Ras Michael's Dadawah. The Singing Drummer, a devout Rastafarian musician. Dadawah brought Ras Michael together with veteran studio hands: bassist Lloyd Parks, drummer Paul Williams, guitarist Willie Lindo, and last but not least pianist/organist Lloyd Charmers, who also produced.

The resulting album Peace & Love is a work of faith. Although not a concept album in the strict sense of the term, it thematically evokes the Biblical final days. "Run Come Rally" calls together the world's righteous in preparation for the upcoming battle with evil. Having gathered together the brethren from "Seventy Two Nations," all bow before Jah in a celebration of His greatness, then give voice to their desire to return to "Zion Land." The set concludes with "Know How You Stand"'s call for freedom, and with it the ability to fulfill Jah's plan.

The extraordinary power of the set's themes is echoed by the equally phenomenal backings, all conjuring up the most haunting of atmospheres. While the hand drums give the album a grounation feel, Parks and Williams simultaneously ground the numbers deep in roots. Intriguingly, though, there's no reggae guitar, just Lindo's sublime riffs and licks that flick into the rock realm, while constantly sliding back into blues. Charmers' piano and organ occasionally take over the reggae guitar role, but mostly his keys intertwine around Lindo's leads, accentuating melodies, scattering elegant flourishes here and there, and subtly building up the atmospheres. Charmers' production is superb, the musicians inspired, and Ras Michael's power undeniable. An astounding album that's lost none of its potency over the years.

Super-cosmic Dub album by bass & keys wizard Slim Levy, full of song writing magic and it’s very own cassette tape mojo.

Fourteen beautifully messy dub tracks, psychedelic floor movers and short curveball riddims, inspired by Lee Perry’s radical mixing desk treatment on “Dub Revolution” but infused with the musicality of the “Pet Sounds” album by the Beach Boys.

Initially a professional bassist, Slim Levy fell in love with the golden age of Jamaican music of the 60s and 70s after a formative tour alongside the legendary Lee “Scratch” Perry.

In 2020 he launched his career as a producer. At his home studio in Strasbourg / France he is always on the search for sound artifacts and magic imperfections, shaping his distinct sound.

For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.

When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.

On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.

Four belters, all on one record, designed for maximum listening pleasure.

Simsara Records is proud to announce Syrr, the new album by Egyptian artist Maryam Saleh, arriving 27 March 2026. A mythic and introspective work, Syrr transforms memory, loss, and lived experience into a shifting world of sound, voice, and embodied emotion. Written and composed by Saleh, the album traces a three-part journey—Origin & Image, Vessel, and Intuition & Echo—in which the self is fractured, questioned, reassembled, and ultimately expanded. Blending raw expression with subtle dramatics, Saleh crafts an immersive sonic autobiography rooted in intuition, embodiment, and human becoming.
Co-produced by Maryam Saleh, Maurice Louca, and Kamilya Jubran—who also perform keys, oud and backing vocals throughout—the album’s songs are set to or inspired by existing Egyptian and Arabic song forms (including mawwal, lullaby, madih, muwashshah, taqtuqa and more). The project underwent a rigorous three-year journey of songwriting and composition by Saleh with Kamilya Jubran as mentor before recording.
“Syrr” is mixed by Mokhtar El Sayeh and mastered by Heba Kadry, with artwork by Pauline Gouablin (photography), Omar Mostafa (image editing, treatment and inserts design), and Maged El Sokkary (typography and illustration). Lyrics translation by Nariman Youssef. Produced by Simsara Music with support from the Arab Fund for Arts and Culture (AFAC).

Don't Know How To Change: a timeless house music masterpiece.

Since Julian Lindsey slid smoothly into the New York House scene back in 2014, he has become renowned for his sharp musical intuition, slick selections and a symbiotic relationship with the crowd. He takes the groove on the record and transmits it to the groove on the dancefloor.

Don't Know How To Change is Julian Lindsey’s debut EP, released on the Sound of Vast. The title track is smooth beyond belief, funky house keys and a laid back soulful vocal work with the bass to make your hips start to move, before a house backbeat takes you by the hand onto the dancefloor. At 3:15 mins, Julian Lindsey plays his ace card with a TB-303 acid tweak drenched with emotion. Just superb. The Subb-an Dubmix stays true to the original, claps and snares bring a dancefloor immediacy, the vocal line chopped to bring the funk. Ibiza will go wild for this Dubmix.

Miami Air starts with a Funktion-1-lovin’ deep velvet groove. Close your eyes and you can almost smell that dusky, warm Atlantic coast beach at sunset, driving with the roof down as the lights start to twinkle across Vice City and the bass drum beats through your fulcrum. A perfect companion for Don’t Know How To Change. Francesca Lombardo’s remix takes Miami Air from dusk to deep night, A mini Moog 4/4, rimshot claps and a vintage synth line guides you past midnight onto the dark, humid dancefloor where bodies writhe.

Julian Lindsey tells us more: The EP is really the story of my relationship with house music and a snapshot of where I was in my life when I made these tracks. I have an obsession with house music that is borderline unhealthy. The sound is rooted in 2010s house music, which is the era where my love for house music really developed.

東京 / アムステルダムを股にかけるレーベルSound Of Vast から、NYC拠点のアーティスト Julian LindseyによるデビューEPをリリース！

レイドバックしたグルーヴに物憂げなコードとスムースなヴォーカルが踊るレイトナイト・ダンサー"Don't Know How To Change"、現代的でクリスピーなタッチと虚飾を捨てた洗練が宿る"Miami Air”。新鋭と聞いて疑いたくもなる研ぎ澄まされた感覚からは、さながら10年代「Pampa」や「Smallville」作品のメランコリア、Galcher Lustwerkのロウなアウトサイダー・ハウス、あるいはRed Pig FlowerやThe MoleによるSound Of Vast 原典を思い出す。実際Julian Lindsey自身、この年代のディープ・ハウスへの熱狂からキャリアを始めているようだ。

A-2には Sound Of Vast への帰還を果たしたベルリンのベテラン Subb-anの、B-2にはUK拠点のFrancesca Lombardoによるリミックスを収録。ここ数年「X-Kalay」やThomas Melchiorの「My King Is Light」等からプログレッシヴな快作を飛ばすSubb-anがアクアティックに再構築した前者、期待以上のサイケデリックなテクスチャーで時間感覚を狂わせる後者。それぞれの卓越したサウンドメイクで昇華されたDJツールが出揃っており、いずれも現代ダンスフロアからの要請に真正面から応えてくれるはずだ。

本作はJulian Lindseyのバイオグラフィーの第1弾を飾るエヴァーグリーンなディープ・ハウス作品であると同時に、常にダンサーを見つめてきた Sound Of Vast から送り出された、信頼のおけるフロア・フレンドリーなEPでもある。

Text by DNG (CYK / Lighthouse Records)

Für sein treffend betiteltes Solo-Debütalbum "Introducing..." hat Aaron Frazer mit Dan Auerbach von The Black Keys zusammengearbeitet. Soft spoken und mit dem Aussehen eines leicht unzufriedenen Matinee-Idols aus den 1950er Jahren gesegnet, besitzt Frazer eine einzigartige Stimme, die sowohl zeitgemäß als auch zeitlos klingt. Der in Baltimore aufgewachsene, zurzeit in Brooklyn lebende Songwriter wurde als Schlagzeuger und Co-Vokalist von Durand Jones & The Indications bekannt. Jetzt tritt er mit "Introducing..." als Solist hinter dem Drumkit hervor und demonstriert nicht nur seine beeindruckenden stimmlichen Qualitäten, sondern auch sein Können als hochklassiger Songschreiber. Schon die erste Single "Bad News" sorgte für Aufsehen ("a gorgeous piece of vintage R&B" - CLASH), die sich anschließende Lead-Single "Over You" ist inspiriert von elektrisierenden Northern Soul 45s der 60er Jahre. Nur zwei Belege der erfolgreichen Zusammenarbeit zwischen Frazer und Auerbach. Die zwölf Songs auf "Introducing..." verbinden gekonnt den Soul der 70er Jahre mit Dan Auerbachs besonderer Sensibilität für Vintage-Sounds im neuen Gewand. "Introducing..." enthält klassische Message-Songs im Stil von Künstlern wie Gil Scott-Heron sowie motivierende Liebeslieder, die von Disco-, Gospel- und Doo-Wop-Einflüssen durchzogen sind. Das gesamte Album wurde innerhalb nur einer Woche in Auerbachs berühmten Nashville-Studio nach einer schnellen und produktiven Songwriting-Session aufgenommen. Auerbach holte auch den legendären Songwriter und Falsettspezialisten L. Russell Brown (schrieb früher Hits für Frankie Valli von The Four Seasons) an Bord, der den wunderschönen Opener "You Don't Wanna Be My Baby" auf dem Album mitkopmponierte. Für "Introducing..." rekrutierte Frazer eine beeindruckende Schar alteingesessener Session-Musiker aus Nashville. Darunter Mitglieder der legendären Memphis Boys (die in Dusty Springfields "Son of A Preacher Man" und Aretha Franklins "You Make Me Feel Like A Natural Woman" mitspielten), den Perkussionisten Sam Bacco sowie diverse Musiker aus dem Daptone/Big Crown Records-Umfeld.

Frisch gekrönt mit ihrem ersten GRAMMY Award in der Kategorie ,Bestes R&B-Album" für ihren Beitrag zu Leon Thomas' MUTT kehrt die unverwechselbare Sängerin/Altistin mit "Yearnalism" zurück, ihrem dritten Studioalbum, das von Selbstbewusstsein, Fürsorge und befreiender Liebe durchdrungen ist. Die Singer-Songwriterin und Produzentin definiert ,Yearnalism" als den Prozess und die Dokumentation von Sehnsucht in ihren vielen Formen: ,Sehnsucht nach Freiheit, Sehnsucht nach Liebe, Sehnsucht nach dem, was man nicht haben kann, Sehnsucht nach Erweiterung." Diese kompakte LP mit 12 Songs, die bald zu Klassikern werden, zeichnet eine holprige Roadmap der Sehnsucht, frei von Ego. Baby Rose hat fast ein Jahrzehnt lang auf diesen Moment hingearbeitet. Aufgewachsen zwischen Washington D.C. und Fayetteville, N.C., geprägt von Künstlern wie Nina Simone, Donny Hathaway und Janis Joplin, ist die als Jasmine Rose Wilson geborene Musikerin seit ihrem Debüt ,To Myself" aus dem Jahr 2019 eine feste Größe im Alternative R&B. Damals waren es der rauchige Klang ihrer Stimme und eine für ihr Alter ungewöhnlich reife Ausstrahlung, die die Zuhörer zum ersten Mal in ihren Bann zogen. Seitdem hat sie sich auf Alben mit Ari Lennox, Big K.R.I.T., Q, BADBADNOTGOOD und J. Cole behauptet. Sie lieferte den Abspann-Song zum Hollywood-Blockbuster ,Creed III" und brachte ihr Talent sowohl vor als auch hinter der Kamera in A24s ,Materialists" ein, indem sie dem Soundtrack des Films zwei Songs von eindringlicher Textur schenkte und in einem Cameo-Auftritt als Hochzeitssängerin auftrat. Zu ihren Bewunderern in der Branche zählen Schwergewichte wie SZA, Alicia Keys, Kendrick Lamar, J. Cole, H.E.R., Kehlani, James Blake und Olivia Dean.

Not just a musical project, but an outlet for him to push the envelope of extreme music, challenging the listener to leave behind preconceptions of genre limitations and to approach the music with an open mind. In his exploration of the musical outer limits, he is joined by fellow seasoned pros Steve Tucker (Morbid Angel) on vocals, Flo Mounier (Cryptopsy) on drums and Derek Sherinian (Dream Theater, Steve Vai, Malmsteen, Kiss) on keys. An allstar line up that grabs the attention of any metal/ progressive music enthusiast. The project began whilst Sonny was on tour with Morbid Angel. Sonny explained the concept of the band to Steve Tucker, who was intrigued and fully committed to getting involved. Sonny wasted no time and began handwriting transcripts for what would become the earliest Arise From Worms material, whilst on tour.

Kendra Morris' 2025er Brettspiel-Konzeptalbum ,Next" wurde schnell zum Fan-Favoriten, führte mehrere Jahresendlisten an und festigte seinen Platz als eine der kreativsten Albumkampagnen. Jetzt, sechs Monate nach der Veröffentlichung des Albums, freut sich Karma Chief, dir eine 45er-Single mit einem Fan-Favoriten vom Album und einem brandneuen Dub-Remix präsentieren zu können. ,Flat Tire", der Ankündigungs-Track des Albums, ist eine Hommage an den alten Reggae der 60er Jahre. Inspiriert von den Platten, die Kendras Eltern von ihren Reisen nach Jamaika mitbrachten, bietet der Song einen eingängigen, beschwingten Refrain, den du einfach nicht mehr aus dem Kopf bekommst. ,Flat Tire" wurde komplett mit Vintage-Equipment aufgenommen und über einen Tascam 388 abgemischt. Außerdem ist Ray Jacildo, der auch schon mit The Back Keys und Yola zusammengearbeitet hat, am Klavier und an der Orgel zu hören. Auf der B-Seite der 45er-Single ist ein Dub-Remix von ,Flat Tire" vom einzigartigen Paul Cherry zu finden. ,Sobald wir ,Flat Tire` aufgenommen hatten, waren Terry und ich uns sofort einig, dass es eine Art Dub-Remix geben sollte - der Song war wie dafür gemacht", sagt Kendra. Terry schlug Cherrys Namen vor und sie waren sich einig, dass er der Richtige für den Job war. Das Endergebnis spiegelt den klassischen Dub der späten 60er perfekt wider, indem es auf den Grundlagen des Songs aufbaut _ die Produktion weiter reduziert, den Hall verstärkt und an genau den richtigen Stellen Echos, Pausen und Delays hinzufügt.

This tidy joint release between Future Rootz and Luchando Music compiles rare recordings from 1970s and 80s Cuba, all sourced from private archives and reel-to-reel tapes. This is the sort of selection to get serious diggers hot under the collar as it explores funk-driven arrangements, jazz-informed horn sections and rhythm-led compositions contoured with Afro-Cuban percussion. There is plenty of tape saturation and analogue noise present throughout that reinforces the archival origins of the music and instrumentation centres on brass, keys and layered percussion, with grooves built from syncopated patterns and live ensembles. Alongside the music, restored credits and contextual research foreground the musicians and recording histories behind these previously unavailable works. Do not sleep on this one.

Blending world-class musicianship with undeniable dancefloor energy, this release marks a bold evolution in Sean Khan’s sound — stepping beyond his signature jazz roots into a rich fusion of house, disco, and jazz-funk.
The A-side delivers a powerful, vocal-led jazzy house anthem, with Omar’s unmistakable voice floating over lush live keys and deep bass grooves. Driven by refined production and crafted for maximum impact, Stéphane and Alex Attias bring a sophisticated yet infectious energy designed to ignite dancefloors. Flip it over, and the B-side turns up the heat — a killer disco-house remix by Alex Attias, powered by tight programming from Stéphane Attias and vibrant keys from Sohan Wilson. Already catching attention from DJs, this track is built for late-night moments and peak-time reactions. The EP also features “As The Tree Grows” — a soulful, live-inspired journey through jazz-funk and disco textures. Warm, groovy, and deeply musical, it channels the spirit of legends while staying fresh and modern — perfect for both listening and dancing. Three moods. One release.cCrafted for the dancefloor. Designed for the soul.

As a follow-up to his most recent release on Fatsouls, we are pleased to present Trinidadian Deep’s – Deep Rooted Isle. As you could anticipate from him, the project is a fantastic collection of three excellent stand-alone pieces. With mesmerizing keys, dreamy pads, and layered percussion, the package produces a lush, ethereal soundtrack. We hope you enjoy it as much as we do.

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
Copyright Control
2025 Fresh Meat Records

Originally self-released in 2023, Stella Kola, the debut album from Beverly Ketch (Jow Jow, Weeping Bong Band) and Robert Thomas (Sunburned Hand of the Man, Dalthom), now returns in a renewed edition—bringing wider attention to a record that already felt like a quietly essential artifact from the moment it first appeared.

Given the pair’s respective roots—and the presence of collaborators drawn from across the Northeast experimental underground—one might expect “a brutal blast of acid swirl.” Instead, what emerges is something far more unexpected. The album is “steeped, not in noise and dissonance, but in the fragrant, captivating folk of Linda Perhacs, Judee Sill, Karen Dalton, and Bridget St John.”

From the opening moments, especially on “Rosa,” the record reveals its core sensibility: “a ballad that digs deep into the psychedelic-folk tradition until it takes root in a freshly sporous permaculture.” What follows is a set of songs that feel both carefully assembled and organically grown—delicate structures held together by a wide circle of contributing musicians, including Wednesday Knudsen (flute), P.G. Six (harp, guitars, keys), Gary War (synth), Jen Gellineau (viola, violin), Willie Lane, L. Gray, and others.

Rather than functioning as studio additions, these collaborators form a genuine collective presence. “The family affair feeds into the album’s charms,” and the feeling is unmistakably communal. Like many of the ‘60s folk records it echoes, Stella Kola carries “the feeling of community and camaraderie” at its core, shaping a warmth that runs through the entire release.

The album’s emotional palette leans toward a quiet, persistent melancholy: “the best records from that era also carried with them an inherent sadness and Stella Kola’s songs wash over the listener with a beautiful woe.” Its sound edges into the terrain of Fairport Convention and Pentangle, with references to “Beggar’s, Kings, Dark Damsels, and Tarot,” yet never settles into revivalism. Instead, Ketch and Thomas extend the tradition outward, refracting it through their own distinctly American, underground language.

As one early description of the album notes, “the masterful restraint of ‘Rosa’ and the rest of Stella Kola’s shimmering debut evokes Anne Briggs, C.O.B., Pentangle and similar ancestors that knew the best way to honor traditions was to widen the heritage even further.”

Even among a prolific and unpredictable network of underground musicians, Stella Kola stands apart. “It’s early in the year, but it’s hard to see an album, especially a debut, capturing the heart as hard as this one.” With its return in reissue form, the album reasserts itself not just as a hidden gem, but as an essential document of contemporary folk experimentation—an intimate, collective work that continues to unfold with time.

Steve Bug and Pornbugs team up on Behind The Glass / On The Swing with remixes from Mihai Popoviciu and Markus Homm.

Unsung House hero, Steve Bug has been there and done it all. Arguably Germany’s most important pioneer, his label Poker Flat has been an epoch-defining imprint. Celebrating 20 years of Bondage Pornbugs are mixing in different circles with recent releases for Selador and Acker Dub, showcasing their crossover appeal with a new generation of DJs.

Opening with ‘On The Swing’ we are delighted by classic deep vibes with a modern twist. Grooevsome and warm, this will get the floor going anywhere in the world. On remix duties, Mihai Popoviciu drops his trademark style, smoothing out the bumps for a deeper ride.

Next up, ‘Behind The Glass’ takes a similar path. Soulful warmth exudes from the speakers as the bumpy bass and echoing keys mark time. Reaching a crescendo with muted acid undertones in the second half keeps attention high and the dancefloor full and happy. For his remix, Markus Homm takes it deeper with shades of Detroit. Liquid cool for the later floors.

Originally released in 2012. A long-in-the-making soundtrack to acclaimed filmmaker Grant Gee's documentary about German writer WG Sebald. »Patience (After Sebald)« is a multi-layered film essay on landscape, art, history, life and loss - an exploration of the work and influence of German writer WG Sebald (1944-2001), told via a long walk through coastal East Anglia tracking his most famous book »The Rings Of Saturn«. Much like The Caretaker's oeuvre, Sebald's works are particularly focused on themes of memory, both personal and collective, making Kirby the ideal candidate for this score.

Grant tasked him with soundtracking responsibilities, but rather than thrift shop shellac, the source material for »Patience« was sourced from Franz Schubert's 1827 piece 'Winterreise' and subjected to his perplexing processes, smudging and rubbing isolated fragments into a dust-caked haze of plangent keys, strangely resolved loops and de-pitched vocals which recede from view as eerily as they appear. Mastered by Lupo at D&M, the album is adorned with another specially commissioned painting by Ivan Seal.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

2026 Repress

"To make authentic Jungle you’ve got to get the breaks right sonically and LMajor does that without effort. Something in the tone of his drums really spoke to me and I knew immediately I wanted a record for Astrophonica. Authentic UKG is also all in the drums and it turns out he can do those too. Throw in some killer hooks and riffs and it’s the perfect combination - full of vibe and character” - Fracture

‘Can’t Do It’ is raw dance floor Jungle in a drawn out and journey like fashion. They don’t make ‘em like this anymore. Incredibly fun to mix - can you do it?

‘Spinnin’ is all blissed out UKG with dizzying chord stabs and vocal ticks. Wait for the irresistible walking bass line to take you by the arm and go for a stroll.

The drums in ’Feelin’ are so in the pocket that there’s no space for your wallet and keys so forget them and just bubble. Heavy sub bass will have the rest of your jeans flapping.

‘Hush’ closes the EP on a high with trademark LMajor breaks and drawn out arrangement. No need to rush this one, just tune out to the rhodes and Think break workout before the lashing and metallic Amen ramps up the excitement. Shhh, just listen.

Deaf Center member Otto A Totland’s 2014 debut LP, an intricate work for solo piano.

Otto A Totland's modern compositional elements are most widely recognized as half of the Norwegian duo Deaf Center, where his melancholic, intricate piano work provides haunting relief to the beds of noise and deep strings from Erik K Skodvin. Pinô is the first full-length release by Totland, though his solo work has been released once, as the 5-minute A-side of Sonic Pieces 7inch Harmony From the Past. Otto's previously brief vignettes are now expanded into a fully personal realization of his own style.

Initial track Open fills itself with heavy, knowing pauses that quickly become overwhelmed with the desire to understand what's to come. Each silence leads into quick flutters of keys, preparing the listener for a vast terrain of giddy beauty, bleak depths, and true contentedness. Pinô quickly recalls deep winter; in front of a fireplace for days on end, you lose how far along you've ventured into the 18 tracks without any idea how far is left to go. The experience feels inevitable, with no other option but to curl up somewhere cozy and appreciate the sense of timelessness that Totland has created. His album is a haunting modern compositional treasure, expressed through instrumentals completely unique to Totland and captured masterfully by Nils Frahm at Durton Studios.

With Pinô, Otto A Totland appears out of the Norwegian landscape, sharing an achievement that will provide a relief during the brooding winter darkness. Though a highly personal endeavor, the recognizable continuation of Totland’s compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O’Halloran.

Following the massive success of their sophomore album Fading Forward, Les Imprimés, by popular demand, press two standout tracks from the album on the coveted 7" format. The A side, 'You & I,' is a feel-good, upbeat homage to the kind of love that endures "through the chaos and the blunders." Punchy drums and keys create an undeniable two-stepper for frontman Morten Martens' vocals to float above. Dreamers dream and dancers dance as Martens paints a picture of a devoted, understanding love that few are lucky enough to find. On the B side, Les Imprimés offer their take on the classic slow jam. 'Miss The Days' unfolds gradually, with slow pulsing drums and building instrumentation that evoke longing and nostalgia. Martens sings of simpler times impossible to forget-moments free of adult responsibilities, when "it was you and me, hand in hand, sometimes wasted_" Ama Li joins him on vocals, transforming the track into a killer modern take on the classic soul duet, a tune sure to resonate far and wide.