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Hailed as the “Godfather of electronic music,” Paul Oakenfold is one of the most successful electronic artists of all time, counting more than 110M streams, 5M albums sold worldwide and three GRAMMY nominations.
Oakenfold’s discography includes three full-length studio albums, countless live/compilation albums, singles and remixes, and over 20 DJ mix albums. He has written and produced for major stars like Cher, The Happy Mondays, U2 and Madonna and also counts more than 100 remixes, including ones for The Rolling Stones, Justin Timberlake, Michael Jackson, Britney Spears and Elvis Presley.

He continues to push the envelope via his game-changing projects, including a once-in-a-lifetime DJ set in April 2017 at the top of the base camp of Mt. Everest, commemorating the set with the release ‘Mount Everest: The Base Camp Mix.’ In September 2018, he became the first-ever artist to perform at Stonehenge, a UNESCO World Heritage site, followed by his ‘Sunset at Stonehenge’ mix album (February 2019) capturing the historic DJ set. In March 2019, he performed at the 2019 Special Olympics World Games opening ceremony in Abu Dhabi, in addition to remixing the Games’ official theme song.

This release is a reissue of his classic soundtrack album for the 2001 Joel Silver produced Swordfish starring Hugh Jackman, John Travolta, Halle Berry & Don Chedle. It contains tracks specially commissioned for the film written by Paul & film composer Christopher Young, plus his remix versions of N*E*R*D – Lapdance, Afrika Bambaataa - Planet Rock, Muse - New Born, plus tracks from Lemon Jelly + Dope Smugglerz, Jan Johnston.

The original release has sold over 100k units to date & the vinyl is now selling upwards of £300 on Discogs. This 2025 triple vinyl reissue has been remastered at Metropolis Studios + will be pressed on green coloured vinyl & coincides with the 4k UHD limited edition 25th anniversary Blu Ray release.

At A Glance Records is thrilled to unveil its second release, AAG002 by the incomparable UC Beatz. Known for seamlessly weaving lush, emotive textures with irresistibly groovy disco-house rhythms, UC Beatz once again delivers an enthralling journey into the essence of house music.

Following the success of AAG001, this release showcases UC Beatz's masterful ability to shape deep, soulful soundscapes and intricate beats, striking the perfect balance between immersive storytelling and dancefloor energy.

As the younger sibling of Small Great Things., At A Glance continues to champion innovative, boundary-pushing sounds. With a keen ear for blending timeless influences with modern flair, this release promises to resonate with dedicated listeners and discerning DJs alike.

Guaranteed floor filler alert!

Released in 2003 on the illusive Excursions label, this promo release has steadily gained notoriety in the last 12 months, getting played everywhere from big festival stages to sweaty basements.

With original copies now regularly changing hands for over £200 on the second-hand market, Excursions are blessing us with a fully remastered reissue for 2025 with a previously unreleased Sade edit included as an extra bonus.

In case of emergencies, reach for this release.

These won’t hang around for long. You’ve been warned.

What do you get if you put two synthesizer sorcerers in the same room? In the case of Skatebård and Lauer, the answer is Trollkraft. Between them, the Norwegian-German partnership have hundreds of releases, run record labels and have wowed crowds across the globe. In short, the two tracks of Trollkraft are the product of some serious electronic talent. Rich and textured drum layers give way to strings and a vibrating bass for the title piece. Twists and turns abound, elements of disco and house brush shoulders with indie and italo as the pair tear down genre divisions. A 90s heyday influence that runs through both offerings, with “One Night In Geilo” taking its cue from house rhythms and a two-stepping melody adopted from that emblematic decade. Reimagining rave in their own effervescent and playful style, these strobe and fog veterans serve up a fat slice of glow-stick elation. Strings weave high into the dawning sky, bongos and toms reveling next incandescent synthines with just a touch of trance thrown in to add spice to this heady and euphoric mix.

Two tracks from two true masters.

Exact replica picture sleeve seven-inch reissue of this hidden super-catchy punk/power pop 45 from the very short-lived punk group Trash. The music is raw, naive three-chord genius!
The group Trash were from Weybridge, Surrey and found little success at the time. They released just two singles to absolutely no fanfare at all in 1977 and 78 despite being signed to Polydor Records.
Trash's 'Priorities', the group's debut single is now available once again for the first time in nearly 50 years on Soul Jazz Records in a very limited edition one-off pressing of 300 copies.

EVERYBODY LOVES THE SUNSHINE is more than a classic. It is “THE” summer anthem, one of the most covered and sampled Soul tunes by Roy Ayers and the Ubiquity family. This vinyl re-release has been eagerly awaited by music lovers worldwide. This version was originally recorded as a cover version, produced by Soulciety Records for their label band project named The Soulsociety.

The performance was recorded with the original songwriter and producer of the song, Mr. legendary vibes controller and Soul superstar Roy Ayers. This recording follows the original 70s feel and instrumentation of the 1976 version, but this time also features Roy Ayers prominently on lead vocals. Another big difference compared to all other versions by Roy and Ramp is the fact that this version is arranged and produced as a midtempo track. It will fit perfectly into any DJs set with a focus on Soul, Funk or Hip Hop. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl with full cover artwork, including the previously unreleased instrumental version on the flip side with added extra vibes by the master himself.

The Aachen Jazz Files

A collection of essential jazz from the NABEL record label (1980-1994), compiled by miche & Rainer Truby.

The Aachen Jazz Files celebrates the pioneering spirit of NABEL Records—one of Germany’s most underrated yet influential independent jazz labels. Founded in 1980 by Rainer Wiedensohler, NABEL became a home for innovative musicians blending classic acoustic jazz with fusion, Brazilian rhythms, and avant-garde flourishes.

This compilation collects some of the label’s finest moments, including the soulful and Latin-tinged brilliance of Monika Linges Quartet (whose album *Floating* was reissued last year by PANORAMA Records for RSD Black Friday), the cosmic jazz explorations of John Thomas & Lifeforce, the deep jazz-funk grooves of Hipsters In The Zone, and the stunning, expressive vocals of Maria João’s quintet.

Nestled in the far west of Germany, near the Dutch and Belgian borders, Aachen has long been a hidden gem for jazz lovers. Its vibrant scene, fueled by music schools and the legendary Malteserkeller jazz club, cultivated a unique sound that resonated far beyond its city limits. In fact, the city didn’t just birth a jazz movement—it also lays claim to opening Germany’s first discotheque in 1959.

From London to Tokyo, NABEL’s releases became secret weapons for jazz DJs seeking deep, danceable cuts. The label’s trademark blend of acoustic jazz, fusion, and Brazilian influences made its way onto turntables in underground clubs and festival stages worldwide.

Expect elegant samba jazz, spiritual grooves, and modal masterpieces that capture the essence of NABEL’s golden years. Monika Linges’ contributions shine with her rich harmonies and heartfelt compositions, while John Thomas & Lifeforce deliver a perfect storm of fiery instrumentation and deep soul. Maria João’s early recordings showcase her extraordinary vocal range, and Hipsters In The Zone bring a forward-thinking, acid jazz-infused perspective to the NABEL sound.

As co-compiler Rainer Truby puts it:

'NABEL Records always had this special ‘Aachen sound’—a jazz flavor that carried its own energy, somewhere between the cool sophistication of fusion and the warmth of Brazilian music. It’s a pleasure to finally bring together some of these classics in one essential collection.'

Compiled by miche & Rainer Truby.

PANORAMA Records is a London-based label dedicated to unearthing and reintroducing rare and essential music to new generations. With a focus on jazz, funk, and global grooves, the label has built a reputation for high-quality reissues that capture the spirit of the originals while providing fresh context for today’s listeners. Their past releases have garnered support from tastemakers like Gilles Peterson, Patrick Forge, and Mr Bongo DJs.

Cool Up Records presents the new 7-inch vinyl single by Spanish singer Sailor Smile. The record includes the tracks "Small Baby" and "Let Me Shine", both from her recent EP Desire.

Following the warm reception of the 7-inch single “I Put a Spell on You” in 2024, also featuring Sailor Smile, the Spanish label reaffirms its commitment to the artist. This new release moves beyond the reggae sound of previous productions, while preserving the signature style that defines Cool Up’s work.

On A-side, “Small Baby” is a Soul tune with a solid groove and plenty of character. On B-side, “Let Me Shine” is a Ska track featuring a vocal collaboration with Tenor Mario, who also co-produced both tracks. Together, they deliver a vibrant duet full of energy and party vibes.

Both tracks stand out for their horns arrangements by Sherlock Horns, which add richness and cohesion to the production, solidifying a distinctive sound within the label's catalog.

The vinyl design, created by Mr. John Vanilla, maintains the aesthetic line of Cool Up Records' 7"collection.

Repress.


An incredibly important but left behind album from 1994 originally on the Concrete label and now fully remastered & reissued. Three piece Opik, which consisted of Murray Clark, Chris Deverell and Robert Ellerby delivered some of the most bustling, pulsating, instrumental electronic music of the 90’s. Driven along by forceful emotional basslines coupled with melodic synths and the occasional epic vocal sample. Think LFO, think Orbital, think Leftfield, think Underworld and you are nearly there. Music truly ahead of its time.

»White Noise« is a cooperation project between raster-media and the Max Planck Institute for Empirical Aesthetics. Artistic sound projects generated in the context of the scientific research institute will appear at irregular intervals. The themes and questions of empirical aesthetics research are taken up, questioned or challenged in very different ways. »White Noise« is conceived as an audio archive of the MPIEA artists in residence which records the artistic works on vinyl and documents the respective concepts and working methods in text form.

Victioria Keddie’s »Pshal P’shaw« (white noise #002) is a multimedia exploration delving into phonetic expression’s auditory and rhythmic nuances of phonetic expressions through an amalgamation of text, sound, video, data, and customized learning software. Drawing inspiration from the painter and architectural theorist Hermann Finsterlin who made speculative architectural renderings, the project originated during a residency at the Max Planck Institute of Empirical Aesthetics in Frankfurt in 2023.

The project’s engagement with the sonic landscape of the eight diphthongs in US English, documented through recorded sessions at EEG labs with participants of diverse international backgrounds, is not just a technical analyses. The applied script for the recording session, infused with a contemporary Western US dialect, ventures beyond, exploring the primal essence of phonetic expression and its impact on the oral landscape of mouth, throat, and tongue.

This work focuses on the spoken aspect of language: the art of oration, conversation, and mimicry. It reflects the beauty of our perpetual change, speaking directly to our humanity and the raw, tender moments of existence. It embraces the awkward, beautiful and vulnerable essence of our shared human experience.

Victoria Keddie is a multidisciplinary artist delving into sound, video, installation, and performance. Her work uncovers hidden narratives within ordinary artifacts and spaces, emphasizing their role in shaping our collective story. The examination of acoustic phenomena and language is a recurring theme in her artistic work. Keddie’s current projects navigate the acoustic complexity of language and dialects.

For over a decade, Keddie was co-director of E.S.P. TV, exploring the televisual medium for performance and sound. Keddie has performed and exhibited internationally. Recent fellowships include the NYSCA/NYFA for Music/Sound (2022), the Max Planck Institute for Empirical Aesthetics (2023), and the Bemis Center for Contemporary Art, Sound Art and Experimental Music Fellowship (2024).

»White Noise«, 40 p. magazine English/German, vinyl LP, cardboard box

Human Engineering LP started with a performance photograph, taken during the first stages of the global Coronavirus lockdown in a disused municipal building in Easthampton, Massachusetts. Taking the form of a proficient and emphatic high-jump, with a recording of its sound, and a spoken text, amplified through the strings of an abandoned piano occupying the same space. The resulting photographic and sound documents formed the basis of an audio correspondence between Rick Myers, Andy Votel and Sean Canty which was recorded and arranged between Easthampton Mass. and Manchester from 2018 to 2024.

Hikari to Kage is the next chapter in the story of Wabi Sabi Audio Imprint, diving into the experimental and ambient realms of electronic music.

This beautiful album comes from the hands of Sarah Wreath, a German artist whose unique approach to sound exploration captured our hearts the moment we saw her live at Monument.

The album It's a narrative, an introspective journey that doesn't tell you what to feel but gently guides you toward your own perspective.

Three incredible remixes by DJ Hi-C, Pianeti Sintetici, and Jorge Fons bring their own vision of Sarah's music, each artist weaving their own story within Sarah's framework. Like Yin and Yang, light and shadow exist in balance, defining the beauty of the other-this is Hikari to Kage.

YIA, the emerging DJ duo, returns with a release that blends house, deep tech, and minimal influences, creating a refined yet impactful groove, designed to light up the most selective dancefloors.


The vinyl includes two exclusive remixes from two prominent international names:
• Argentine producer Guile, known for his organic and hypnotic sound, delivers a deep and immersive rework.
• From the UK, Duncan Thomas presents an elegant version, full of tension and groove, perfect for the more sophisticated nighttime sets.


Released by Yes I Am Recordings, a label active in both digital and vinyl formats, this EP is made for diggers and those seeking authentic, underground sounds.

Change, founded in 1980 by Mauro Malavasi, Jacques Fred Petrus, Davide Romani, and
Paolo Gianolio, is a legendary band on the interna#onal soul/disco scene, renowned for
launching iconic voices such as Luther Vandross and Jocelyn Brown.
Their debut album, The Glow of Love, was produced in 1979 between Bologna and New
York. Widely regarded as one of the greatest disco/soul/funk LPs of all #me, it achieved
enormous interna#onal success. It was the first Italian produc#on in this genre to enter the
Billboard 200 chart, peaking at #29 and earning a Gold Record. The singles “A Lover’s
Holiday” (Top 40 on the Billboard Hot 100), “Searching,” and the #tle track “The Glow of
Love” (which reached #2 in Italy) solidified the album’s global impact.
So influen#al was the record that in 2001, Janet Jackson sampled the #tle track for her hit
“All for You,” which went on to win the Grammy Award for Best R&B Recording.
Throughout the 1980s, Change released five addi#onal albums:
• Miracles (1981)
• Sharing
Your Love (1982)
• This Is Your Time (1983)
• Change of Heart (1984, produced by Jimmy
Jam & Terry Lewis)
• Turn on Your Radio (1985)
In 2010, the previously unreleased album Change Your Mind—recorded in the 1990s and
produced by Davide Romani—was finally released.
In 2018, aEer a 33-year hiatus, Love 4
Love marked the band’s comeback. Produced by Romani and Stefano Colombo, the album
introduced vocalist Tanya Michelle Smith and featured eight original tracks wriGen by
Romani, Malavasi, Colombo, and Elio Baldi Cantù. The singles included:
• “Hit or Miss” (remixed by Soulpersona)
• “Love 4 Love” (also remixed by Joey Negro)
• “Make Me (Go
Crazy)” (remixed by Opolopo)
Embrace (2025), credited to Change feat. Tanya Michelle Smith, represents the natural
musical evolu#on of Love 4 Love. Originally conceived in 2019 as Tanya Michelle Smith’s solo
album, it was later reviewed by producer Stefano Colombo together with Mauro Malavasi,
who approved the material and authorized the use of the name “Change.” Malavasi also
contributed to the cover design and selected the album #tle: Embrace.
The first single, “Sunrise Forever,” was released on January 10. The remix by Michael Gray
reached #1 on Traxsource and ranked high on the UK Soul Chart.
The album’s release was postponed when Davide Romani and Stefano Colombo decided to
complete an unfinished demo from the Love 4 Love sessions. Some original parts were lost
due to a corrupted backup, but in 2025 the track was completely rearranged with a newly
recorded bassline by Romani and fresh backing vocals.
On April 4, the single “Got 2 Get Up” was released across all digital plaOorms, receiving
strong radio airplay across Europe and entering the UK Soul Chart. On May 16, a remix by
renowned Italian duo Micky More & Andy Tee will be released in an#cipa#on of the album.
Embrace includes ten original tracks and one cover.
The album will be available on CD and vinyl, distributed by Self Distribuzione Srl. The first
500 vinyl copies will be issued as a limited “Expanded Edi&on”, including the full album plus
a bonus 12” single with Michael Gray’s remixes of “Sunrise Forever.”

Renato Cohen, the Brazilian techno and house producer and DJ best known for his iconic track *Pontapé*, has been a powerhouse in the electronic music scene since the late '90s. Born in São Paulo in 1974, Cohen's career has spanned nearly three decades, marked by releases on some of the industry's most respected labels, including Carl Cox's Intec, Technasia's Sino, Marc Romboy's Systematic, Pets Recordings, and Defected. Known not only for his studio work but also for his dynamic live P.A. shows, Cohen is a true legend. We had the fortune to connect with him after a Boiler Room set in Brazil where he played *Sting the Floor*, a true floor-filler that electrified the room. Since then, our friendship has flourished, leading to this powerful EP. The EP features « Roaring », an outstanding house track that channels Cohen's heart and soul into every arpeggio and swirling melody, bringing to mind the best of Todd Terje's hypnotic grooves. It's a piece that builds momentum with finesse, crafting a sound both grand and intimate, resonating with every listener. « Roaring » is Cohen's homage to house music—a track that encapsulates his passion and mastery. Accompanying « Roaring » is « Wet Desert », a high-caliber production that's as immersive as it is intense. The track carries a deep, evocative energy, combining Cohen's deft touch with an expansive, desert-inspired soundscape. Through our connection, we've brought in The Floorfillers for an acid remix of « Roaring », putting a fresh twist on Cohen's original with a pulsating acid bassline that's reminiscent of our own « Edit1 ». It's a version that takes « Roaring » to new, harder-hitting heights, perfect for late-night dance floors. To complete this standout release, Skylax's own Maltitz has crafted a stunning Italo-Balearic remix, drawing from the spirit of the late David Mancuso. With its warm, nostalgic vibes, Maltitz's remix adds a lush, sun-soaked dimension to « Roaring », perfect for balmy evenings and open-air gatherings. This EP marks a powerful comeback for Renato Cohen, celebrating his career while pushing forward with new, fresh sounds that honor his legacy.

"Bassland Prophecy" was a collection of Southern California musicians, including Alex Xenophon (Deep Squared), Stuart Breidenstein (formerly of Skylab 2000), Alissa Kueker (vocals), and Maxx Vaxx (Euterpre, Butterfly Garden).

The act nourished and grew the emerging LA scene and was a renegade force in live electronic improvisation. Rather than composing full tracks, Breidenstein stated over email that they built musical "ingredients" on the fly, syncing DOS and hardware sequencers mid-performance. Their unpredictable sets, from illegal raves to makeshift desert parties, resulted in electrifying, unforgettable sonic trips.

Recalling 90s LA, Breidenstein said: “Before the internet, finding a rave was an adventure. You’d get a flyer with a phone number, call it the night of the event, then drive—sometimes 100 miles or more from a map point to the actual party. The scene was raw and underground, built by music obsessives hunting for the freshest sounds.”

Two standout tracks from 1996—“Nine / Deeper” and “Blue and Purple Starship of Trust”—perfectly represent their unique genre-bending concoctions. Against all odds, the recordings survived and have been given new life, remastered and reissued on Bristol-based *Sex Tapes From Mars*. To produce the wizardry, their setup included a Juno 106, Yamaha FB-01, a Roland S330 sampler, and a Sequential Circuits Pro-One mono synth with external MIDI, and some guitar effects pedals.

“Nine / Deeper,” born from one of their many spontaneous studio sessions, became eerily intertwined with recurring appearances of the number 9 and black cats. So much was the frequency of apophenia episodes that paranoia began to take over the artists. Recorded in a makeshift living room studio, the 14-minute excursion traverses genres and tempos, beginning quick and hypnotic, and climaxing chuggy and drenched in adlibbed acid lines, culminating in a surreal and legendary live performance in Hollywood. The piece captures the raw spontaneity of their sets, crafted with vintage gear, cassette tape recordings, and, as always, a DIY ethos. Breidenstein states, “While improvised sessions often failed, when it succeeded, it was definitely a kind of infectious magic the listener would recognize.”

“The Blue and Purple Starship of Trust” is a deeply personal piece, named after when Breidenstein saw a heavenly blue morning glory on a walk around his neighborhood, and emerged from heartbreak and the following deep depression entrenching his life at the time. Recorded in a single take onto cassette tape, blending piano, guitar, and heart-rending vocals into an emotional, dreamlike journey. The track starts with a lush, cascading synth sound, bolstered up by rolling, reverbing downtempo drums. Using Sequential Circuits Pro-One throughout, the rippling synths and off-key piano licks act like pipetted droplets of water, all elements bleeding into each other in some kind of hallucinogenic swelling, reflecting Breidenstein’s fading relationship. The guitar part is a nod to Bill Withers’ “Ain’t No Sunshine,” and Breidenstein recalls just “bawling as the guitar line was recorded.”

Created in a time of artistic struggle, living in an old school bus, surviving on instant noodles while hauling their gear from venue to venue, and scraping by on gig money, these recordings act as rare artifacts of a movement that thrived on passion and perseverance, standing as a poignant testament to resilience. Though they released a handful of tracks, ranging from deep house to ambient to techno, their true legacy lay in their high-energy, genre-blurring live shows, which are powerfully encapsulated within these recordings and leave a lasting impact on underground electronic music today.

Kerrie is back on James Ruskin's Blueprint for her third EP. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design. Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.



Irish-born, Manchester-based Kerrie is a multidisciplinary artist and DJ. Having garnered a rich musical education through working at and holding a DJ residency for one of the UK's most respected record shops, Eastern Bloc, Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie achieved a milestone at the start of 2024 when Tresor announced her as a resident DJ.

Following well-received releases on labels such as Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism, Kerrie launched her imprint Dark Machine Funk DMF in 2020, and also debuted on Blueprint Records with her "Raw Regimen" EP.Truly welcomed to the Blueprint family, Kerrie delivered her second EP "Transient Belief" in 2023 and joined the crew at label showcases around the globe.

Since 2023 she has been fully committed to the studio and accommodating her increasingly busy tour schedule, forging a long-lasting path fuelled by drive, passion, authenticity and a community-first way of thinking.

She's now back on James Ruskin's label for her third Blueprint outing. The "Act Of Resistance" EP showcases Kerrie's refined approach to techno, blending moody industrial tones with dub overtones and intricate sound design.

It’s a follow-up long in the making as Ukrainian artist Volodymyr Gnatenko re-enters Kalahari orbit.

Somewhere between submerged video game OST and ritual incantation, Mershiy LP recalls the finest psychoacoustic ambient dub the ‘90s had to offer. Less direct than the previous album, allowing space for IDM introspection and some proper contemplation. A mind-melt but keeping it widescreen and pretty meticulous throughout.

Imagined vistas shot in pristine 4K, impeccably crafted with close listening in mind. Repeated listens reveal more insectoid detail and a knack for detailed sonic immersion.

A 6-track zone-out where diaphanous texture makes way for ominous dread as the narrative unfurls. Balancing urges and inclinations with a fathomless churn of acid, trance, dub and pointelist electronics.

Written and Produced by Volodymyr Gnatenko
Design by Susanne Janssen.
Mastered and cut by Anne Taegert at Dubplates And Mastering.
Distributed by One Eye Witness.
2025

2025 Repress

Alleviated Records is proud to present a re-mastered classic single, 'Donnie' by THE IT. Produced by Chip E., producer of house classics 'Time To Jack' and 'Like This' (Chip E./Chip E. Inc.) and co-producing 'MB Dance' (Mirage), this is one of the first releases where audiences started to encounter and love Harry (Harri) Dennis' unique style of poetry and Robert Owens' exciting vocal work in 1986. There's also an appearance from Larry Heard, who just happened upon one of the recording sessions. Have fun with the 5 original mixes, including the 'Hardy mix' by Chicago House-Music legend Ron Hardy!

*all original recordings from mid 90s Estonian released cassettes. Fascinating interpretations of the UK breakbeat and Jungle sounds recorded when the world felt like a much bigger place.

Since hearing the first breakbeats via the Finnish radio nightly shows introducing the burgeoning UK scene, Virko Veskoja, later head figure of Lu:k, was completely swept away by this new technological language that sounded like machines trying to initiate contact with people. The fluttering rhythm patterns, strings and vocal lines haunting the pathways of the infinite network. Like hip hop taken over by Skynet.

Reimagining it all in mid-90’s Estonia, a fresh and dirt-poor republic newly welcomed to the family of sovereign states on the outskirts of Eastern Europe, was challenging, to say the least. Finally, with the help of entry level music programs, custom-made soundcards and self-built computers by the other Lu:k-head Tõnis Valk, Lu:k took the first tentative steps in the history of Estonian jungle.

Eight Lu:k cuts have been compiled into a handy selection, a true sign of the times when uncertainty came with certain hope and optimism – new territories to chart, new frontiers to conquer. A time of innocence captured so sublimely in Lu:k’s music.

The compilation starts with menacing orchestration that sounds like the birth of a civilization, like in „2001: A Space Odyssey“, or the arrival of Godzilla, only to give way to sweeeet strings and the inimitable Minnie Riperton in “Lovin U”, combining all the essential elements of Lu:k in a track that has remained uncorroded by time since its inception in 1994.

The following “Demo 3” is its antithesis – fast and nervous, a harbinger of the darker days of neurofunk and techstep ahead. More in line with the social realities of the time, when something (or someone) could materialise out of thin air and attack you just as violently as those beats here.

“La:v” was Lu:k’s signature track throughout their brief career that went on only for a few years, 1994-1997. Lifted to heaven’s by Petula Clarks’s wonderful vocals, it perfectly captures the pure essence of creation. “I made it in my bedroom. Something like that just came out. Sorry”, says Virko apologetically.

From the themes of love we are led towards darker scenarios again with “Drunk-Drive”, a more vengeful cut reminiscent of early Ram Records’ nocturnal dangers, skylines shaped by basslines. Previously only available on the uber-rare “Raadiomaja valvelauas” CD compilation from 2005.

“In the Limelight” is lifted from their second album “Dreams in Drums” from 1996 (only released on cassette), and if it’s meant to address their new-found underground celebrity status in Estonia, there is surprisingly little elation here – the track rather consists of introspective strings and beats that sound almost melancholic.

Out of the remaining three tracks, “Proov2mix” and “Kadunud leitud” are the result of a treasure hunt amongst the old, obsolete harddrives – little nuggets that were condemned to obscurity until now. Between them, another vocal-led cut “010”, a non-album track only featured on two comps until now, is a strong reminder of Lu:k’s prodigious ability to handle vocal lines and morph them together with their own weaving synthetic melodies, strong pads and commanding beats.

Lu:k’s music has been largely unavailable for the better part of this century, with original tapes and CD’s changing hands for a small fortune. This vinyl release couldn’t come at a better time, bringing a seminal chapter of Estonian dance music’s mythical history to light again, both for the old-school acolytes and new converts.

All music by Virko Veskoja

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

Originally released in 1985 on the italian label London Records Production, Superbowl (or 93rd Superbowl) is an italo disco project with two big names behind: Gianfranco Bortolotti and Roberto Arduini. Together they created this very recognizable italo disco style based on powerfull bassline and energetic synth leads. Very catchy and dancefloor fillers.

The re-issue includes the same tracklist as the original release, Forever and a Day on A side and Forever and Two Days on B Side (kinda a full vocal dub version).

Crash! Boom! Bang! 30-year anniversary celebrated with a unique special edition: a double album in black and white vinyl with 18 tracks and an 8-page booklet.

30 years ago, Roxette released their fifth album "Crash! Boom! Bang!", including a stream of hit singles like "Sleeping In My Car", the title track, "Fireworks", "Run To You" and "Vulnerable". The album would sell more than five million copies and was followed by their second World Tour, which saw them perform for over a million people, including the second performance ever by an international act in China.

“Roxette were among the three most played artists on American radio during 1989, 1990 and 1991, and we were on top of the charts all over the world. So, it's no wonder we felt pretty confident when it was time to record the new album”, Per Gessle says. “Having had that kind of success made us feel that we had a perfect opportunity to stretch out into new directions. To show slightly different sides of what Roxette could be. And I still think "Crash! Boom! Bang" is our best album”. Crash! Boom! Bang! saw chart success upon release, No. 1 in Sweden, No. 2 in Germany and No. 3 in Australia and the UK.

Roxette – Marie Fredriksson and Per Gessle – came out of Sweden in the late 80’s. Their game was pop, their mission to conquer the world. With 33 chart-busting singles and total record sales exceeding 75 million, it seems safe to say “mission accomplished”.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. His much sought-after and stunning self-titled album from 1970 includes ‘Ele E Ela’, as sampled on Jay-Z’s ‘Thank You’, as well as some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove… Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Marcos Valle” was originally released in 1970 and features a dynamic musical backing from some of Brazil’s most gifted players. Hip-hop fans may even recognize the opening horn blasts of ‘Ele E Ela,’ sampled to great effect on Jay-Z’s “Thank You.” It includes some of his most popular songs like ‘Freio Aerodinamico’ and ‘Os Grilos’, swinging between sophistication and groove…

You have been waiting for this for a long time. Ricardo Villalobos approved, Huge edit!!! 12 Inch One Sided white Label Hand stamped. Vinyl only release.

After more than ten years away, 20/20 Soundsystem makes a welcome comeback with some brand new versions of their most standout track, 'Falling'. The group was known for their live mix of electro, deep house, dub and indie and took it to plenty of big stages including Glasto. The new remixes of 'Falling' bring a modern touch and fresh dancefloor-ready energy while never forgoing the spirit of the original. Random Factor's offering is a gritty and dubby electro version and Fernando offers a cosmic chugger with plenty of sci-fi sounds and wispy acid details.

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us.

Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill.

This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.”

Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock.

Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally.

Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.”

Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown.

A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.”

An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

Drumcode veteran Oscar L joins forces with Metodi Hristov, a newer recruit to Adam Beyer’s revered techno label, for their collab two-track EP ‘Gravity’. Madrid’s techno/tech house maestro Oscar L has a long association with Beyer’s twin labels Drumcode (‘Again’ LP, 2023, + performing at DC events) and Truesoul inc. solo EP ‘Vulture’ (2022), Dosem collab ‘Aircargo’ EP (2023), ‘Yapper’ w. Max Styler (2024). As well as Adam Beyer, Oscar’s had support from Richie Hawtin, Nicole Moudaber, Joseph Capriati… and also released on Knee Deep In Sound, Stereo Productions, We Are The Brave et al. Bulgaria-based Metodi Hristov brought his unique techno sounds to Drumcode last year, with his debut DC 2-track EP ‘Build To Destroy’. Both tracks, title track and ‘Flatline’, were included in his Sept 2024 Drumcode Radio Studio Mix live from Sofia. With support including Carl Cox and Enrico Sangiuliano, Metodi’s career is swiftly up and coming. ‘Gravity’: the title track hurls itself into the fray with fast, heavy techno beats, reverb-rich growly hoovers, while a contrasting sweetly melodic chopped and processed female vocal holds its own against a dystopian dialogue between two sinister machines in dark, distorted, industrial juddering synth. There’s a lot going on, dark, powerful, and dance-demanding. ‘Up & Down’: full-on attack from the first nanosecond, with very fast beats, layers of percussion and a dark male voice intoning the title riff. An insistent, reverbing, ‘hammered strings’ synth melody competes with a melodic second voice, high and sweet bringing light to very dark shade. ‘D’you feel it now…’, you surely will.

Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. “Garra” was originally released in 1971 and brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’ Remastered from the original tapes and pressed on 180g vinyl. This release is part of our new reissue series that comprises many other outstanding Brazilian classics by the likes of Evinha, Cassiano, Gerson King Combo, Hyldon... By the late 60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades until this day. By the dawn of the 1970s, the multi-talented Valle was entering a new era, ready to test the government censors (Brazil was under strict military rule since a coup d’état in 1964) and express a socially aware stance and a playful hodge-podge of musical styles including samba, bossa nova, baião (a rhythmic beat from the rural northeast of Brazil), black American music, and rock. “Garra” was originally released in 1971 and maintains the same socially conscious content as in his previous album while also combining diverse musical styles and influences. Recorded amongst sessions for a steady stream of popular TV soap opera soundtracks, it brought us Valle’s classics such as ‘Com Mais De 30’, ‘O Cafona’, ‘Vinte E Seis Anos De Vida Normal’ and the rare groove classic ‘Wanda Vidal.’

For years, whispers circulated through the jazz scenes of Denmark and Poland - rumours of a lost recording session featuring the legendary Polish trumpeter Tomasz Stanko and a group of Scandinavian and Polish musicians. Now, nearly a decade after the session and seven years after Stanko's passing, these long-awaited recordings are finally seeing the light of day. The project originated at Vallekilde Højskole in Denmark, where Stanko was invited to teach at JazzDanmark's annual Summer Session. A storied program that has hosted luminaries including Bill Frisell and Anat Cohen, the summer school became the birthplace of this unexpected ensemble. Here, alongside a dynamic ensemble of young musicians, Stanko found renewed inspiration, embracing their compositions as much as his own - a rare occurrence for an artist known for leading his own groups. Scandinavian Art Ensemble with Tomasz Stanko is the result: two albums of expansive, deeply expressive music that merge the melancholic depth of Polish jazz with the spacious, atmospheric qualities of the Scandinavian sound. As trumpeter Tomasz Dabrowski recalls, Stanko wasn't just a mentor - he was an equal, driven by curiosity and the desire to push boundaries. "He wanted to play our music. He was always listening, always searching." Across these two albums recorded at The Village Recordings in 2016, listeners will hear Stanko's unmistakable tone interwoven with compositions by both himself and the ensemble members. Pieces like 'The Dark Eyes of Martha Hirsch' and 'Before the Rain' showcase not just his signature lyricism, but also his willingness to step back, listen, and let the younger generation shape the sound. Beyond his unmistakable sound, Stanko's influence was about energy - his presence elevated those around him. Bassist Richard Andersson put it simply: "He brings together the energies, and makes us all play better than usual." This project captures that essence: a legendary artist meeting the next generation on equal footing, creating something entirely unexpected. A decade after the session, the members of the Scandinavian Art Ensemble have forged their own paths, shaping the jazz landscapes of Copenhagen, Malmö, Reykjavik, and beyond. But the impact of their time with Stanko remains profound. "Releasing these albums is about more than just the music," D?browski says. "It's about preserving the spirit of Stanko - his generosity, his curiosity, his way of bringing people together. Even after all these years, his presence can still be felt in every note we played."

Originally released in 1993, the ‘Brown Album‘ defied expectations and had a significant genre and cultural impact - showcasing the duo's scope and ambition. It was also met with widespread critical acclaim upon release, with NME awarding it 9/10 in their review, and it was chosen as one of Mixmag’s “best albums of all time”. The album's blend of diverse influences and its rejection of conventional norms helped to solidify Orbital's reputation as The Godfathers Of Rave, expanding the horizons of electronic music beyond local DJ nights.

Over 30 years on, London Records re-release this genre defying album – loaded with 23 additional tracks - rarities and previously unreleased material, including ‘Live From the Limelight, New York 1992’. Also includes a hardback book containing unseen photos, a track-by-track by Phil and Paul Hartnoll + interviews and essays on the making of the album by esteemed music journalist Andrew Harrison, a slipmat and flyer recreations from the era.

Vinyl masters cut at half speed, to ensure maximum audio fidelity.

Turkish band islandman release the ‘Bahar’ EP + Bonus tracks for the first time on Vinyl for Record Store Day 2025.

The A side consists of four sublime tracks including ‘Sattava’, ‘Sad Walk’ and ‘Self-Hypnosis’ & title track ‘Bahar’ which is

a firm fan & listener favourite which has racked up over 3 million streams.

The B Side includes 3 tracks never before released on vinyl tracks from the Turkish Trio. Kicking off with "Yorgunum Kaptan” A rework of Cem Karaca’s composition recorded in ’84, which lyrics were initially driven from the poem written by Nazım Hikmet in 1957. This fresh take on the original is an ode to the pioneer and a homage because of being the inspiration for the band from the beginning.

Next up is Nara Nara Nara (islandman Remix) by NaraBara, the Jazz-Fusion band from Mongolia. This is the most recent chugging islandman remix.

Closing off the EP is the fantastic Future Days (Hey! Douglas Remix) which was released in 2018, but still sounds so fresh today.

"The past few years has seen an explosion in pop music, with new artists breaking with unforgettable songs and (re)establishing pop, with influences from different genres and places, at the top of the charts.
NOW Music are very proud to present NOW That’s What I Call Pop! – 38 massive pop anthems - including 8 UK #1s – and with all tracks featured on a stunning 3-LP vinyl pressed in a different colour for each disc: Bright Yellow, Hot Pink and Baby Blue, releasing 23rd May 2025."

Franky Wah, a Yorkshire native, epitomises contemporary club culture with chart-topping releases blending emotion, dance energy, and catchy hooks. His global performances include renowned venues and festivals and operating his own label, events company, and clothing brand 'SHÈN'. His contributions to club culture and his entrepreneurial ventures highlight his versatility and commitment to pushing the boundaries of electronic music.

Releasing on his own imprint, SHÈN Recordings, ‘The Revival, Vol. 2’ is a sequel to ‘The Revival, Vol. 1’ which was released in 2020 and included records such as ‘Come Together’ which cemented his place amongst the dance heavy hitters and has subsequently led to global recognition.

A non skip DJ scratch tool with ultra-pitch and new content on vinyl by Ritchie Ruftone.
Free digital download included

"Cosmic Love" is an EP by Neg, one of the co-founders of Metrica Recordings, and marks the label's second release. The project features original tracks that merge house foundations with electro, cosmic, and deep soundscapes, creating an expansive yet grounded atmosphere. Adding distinctive interpretations to the mix, the EP includes two notable remixes. Alex Neri's interpretation of Cosmic Love offers a more refined, dancefloor-ready version with driving beats, while Manuold explores a dub-inflected approach, emphasizing echoing textures and a deeper, more contemplative vibe. The original tracks were mixed by Manuold, the EP was mastered at MDLMastering.

Edit maestro Danny Krivit delivers a double-sider of killer instrumentals that rocked such iconic venues as the Loft and the Paradise Garage. ‘Flying Machine’ from War was written for the climactic scene in the 1978 film Youngblood and brings an intense burst of drama and excitement to any set. With swirling flute, the group’s trademark heavy percussion & an iconic drum beat that's been sampled by countless afro house records. This Latin-flavoured jam never fails to provoke dancers to new heights of expression, appearing for the first time on a 7-inch! The Flipside ‘How Much Are They’ plumbs the depths of dub and exists in a strange netherworld between four-on-the-floor, steppers reggae and motorik krautrock, courtesy PIL bassist Jah Wobble and Can’s Jaki Leibezeit and Hoger Czukay. Two certified classics from the playlists of NYC’s greatest clubs, remastered & delivered in maximum sonic fidelity.

His 2019 debut LP ‘For The Ones...' saw Yelfris delving deep into his Yoruba religion and its shamanic chants, subtly infusing those deeply personal elements with electronica and live instrumentation creating a beautiful pulsating soundscape. In purposefully mutating the acoustic sound of his trumpet he adds depth without losing his power and tenderness. Manifesting an adventurous and experimental shift in his composition, drawing on his classical training and love of jazz whilst at the same time delving further into the world of electronica. With the LP’s impressive palette of epic, cosmos-weaving trumpet melodies, fuzzy keys and psychedelic textures at their disposal, Quantic, K15, LCSM, Osunlade, Maxwell Owin, Contours repurpose and rework some of the album’s key moments, bringing an injection of dancefloor - friendly sensibilities to the proceedings.
With this offering, Yelfris’ incredible musicianship is re-contextualised for a new audience, making itself right at home on the dancefloors of the world.

Amsterdam natives Maarten Smeets and Lars Dales, aka Dam Swindle, unveil their third long-player with the release of a new track, the first to be shared from the upcoming album, ‘Open’ - out on 30 May 2025 via Heist Recordings.

The new album sees the acclaimed duo dive far beyond the deep sonic waters they’re most known for, exploring lower tempos, synthwave, hip-house, and ambient across fourteen tracks. With a gestation period that traces back several years, ‘Open’ is their most intimate and personal body of work thus far, birthed during a time of self-reflection away from touring and personal transformation as individuals.

“We felt the need to tell a very personal story through our music as a translation of our personal development in the past years. We also wanted to make music without a specific goal in mind; We simply wanted to create. By taking away the grid of dance music and any expectations of what a Dam Swindle song should sound like, the creativity started to flow naturally with songs in many different styles and tempos. The result is an album that feels refreshing and uplifting and still very much true to the heart and soul of our sound.” - Dam Swindle, January 2025.

While the trademark Dam Swindle four-to-the-floor beats are still ever-present on tracks like ‘The Present Is Always Perfect’, ‘I Need You’, and ‘Is This Love?’, it’s the gentle waves of synths on opener ‘Home’, the contemplative piano chords of ‘Bloom’ featuring Joep Beving, and the lo-fi ambience of ‘It’s Okay, I Can Wait’ that showcase a melancholic, ethereal sensibility previously uncharted by the duo. Collaborations with vocalists such as NYC’s Haile Supreme on ‘Not Enough’ and Neo-soul singer Faye Meana on ‘Girl’ expertly find room in between the dancefloor and home listening sessions, and a clear standout on the LP is the title cut where message-heavy rapped vocals from UK artist Samson ebb and flow amongst iridescent grooves.

Under the helm of Maarten and Lars’ adept A&R, their Heist imprint has become a beloved home for house heads of both schools old and new, platforming some of dance music’s biggest names from Cinthie to DJ Sneak as well as the musical dawnings of artists such as Kassian and Makèz. The Dam Swindle alias has achieved house music royalty-like status across a storied 15-year career that includes two critically lauded full-lengths, collaborations with the likes of Tom Misch and Kerri Chandler, and a globetrotting touring schedule. This album stands as their most profoundly personal work of art to date, and they can’t wait to share it with you.