Cerca:more music

2025-2026 marks the 40th anniversary of the Happy Mondays, a milestone celebration of one of Britain's most iconic and era-defining bands.

To celebrate, London Records will launch a series of special anniversary releases, beginning with a fully remastered brand-new compilation: The Factory Singles. This definitive collection captures the band's ground-breaking output from 1985-1992, celebrating their pivotal role in shaping UK music culture. Classic remixes from Paul Oakenfold, Andrew Weatherall, Terry Farley and Jon Carter make up bonus tracks on the 2CD and 2LP.

The release will be available across multiple formats, appealing to collectors and fans alike.

Complementing the physical editions, a series of brand-new digital remixes will be unveiled from world-renowned artists Daniel Avery, Paul Oakenfold, Mella Dee, and Shadow Child and more, bridging the Mondays' legacy with today's electronic innovators, and a revisit from Paul Oakenfold.

This campaign marks the beginning of an extensive celebration of the Happy Mondays' 40-year legacy, bringing their iconic sound to both devoted fans and new generations

Blue note / Schema / Far Out recordings artist shares a new compilation of golden age italian library music.

Following his acclaimed five-part Viagem compilation series celebrating Brazil's forgotten bossa nova and samba jazz, Far Out, Blue Note and Schema recording artist and international DJ Nicola Conte turns his curatorial attention homeward with Viaggio, an extraordinary exploration of Italy's library music renaissance 1970-79.

The 12-track compilation spotlights the remarkable creative explosion that occurred during the seventies: when some of the greatest yet most historically overlooked composers, including Amedeo Tommasi, Alessandro Alessandroni and Max Rocci, were composing and recording huge amounts of original music for film and television libraries.

Unlike commercial releases designed for mass consumption, library music was created specifically to accompany images on screen. This meant creative freedom for composers who imagined scenarios, feelings and worlds to soundtrack. Pressed in limited quantities, these recordings were distributed only to internal circles of music supervisors, journalists, and television professionals – making them virtually invisible to the general public for decades.

"This is a journey through a largely forgotten world," explains Conte. "While major jazz recording opportunities were scarce, an incredible network of small labels owned by publishing companies – often created by the composers themselves – began to flourish. This created an open space where musicians could express more experimental and free thinking sounds."

At the heart of Viaggio stands Amedeo Tommasi, the sophisticated jazz pianist who emerged in 1960 backing international stars like Chet Baker, Bobby Jaspar, and Jacques Pelzer. Tommasi was among Italy's earliest artists to introduce Black US modal jazz influences, and when traditional recording opportunities dwindled, he pivoted to soundtrack and library music, helping define a distinctly Italian sound that bridged experimental jazz with the emerging possibilities afforded by developments in synthesizer and recording technologies.

The compilation features rare gems from small label outputs, namely the Cenacolo and Rotary label catalogs. Tommasi's contemporaries include the great Alessandro Alessandroni and his vocalist wife Giulia De Mutiis (Kema), Stefano Torrosi (under the alias Farlocco - meaning fake/phony), and Belgian composer Joël Vandroogenbroeck. The recordings capture the technological evolution of the era as beguiling synthesis often combines with global influences spanning Brazilian rhythms, jazz-funk explorations, and Middle Eastern scales.

"You can hear both the haunting melodies and sun-kissed atmospheres so typical of Italian culture from that era," Conte observes. "Some of these albums could have been proper artist releases, while others were specifically designed for accompanying images on screen, yet all were crafted with exploratory creativity that still resonates powerfully today."

"I have two new records, just full of smells. "
from Scanners Live in Vain by Cordwainer Smith

Lutto Lento's new 2568 E.P. is an album in 7-inch single form. Lutto, real name Lubomir Grzelak, has for years been one of the most acclaimed sonic storytellers around. His first outing on Meakusma is another trip beyond the constraints of musical logic, interweaving elements from industrial music, early avant-garde influences, post-club tendencies, and more, conjuring up a mini-album of huge scope.

Not unlike The Residents, 2568 E.P. touches upon stories from the deep, with an absurdist touch that is at the same time forgiving and inviting. It has a hauntological feel to it, but contradicts it at the same time. It is purring and cold, whispering and layered. Beatific and up close. There is a space ship in the swimming pool, but the cocktail party goes on, kind of. On the edge of industrial music, with a choir thrown in for good measure. On the fringes of club music. Toss the wire-sphere into the air and pay the price for space. Fake composure and dive in.

Lutto Lento is Lubomir Grzelak, a sound artist, composer, music producer, and DJ. Known for his idiosyncratic productions and eclectic sets that break barriers between genres, he has steadily built a reputation for adventurous electronic music that resists easy categorization. Beyond records, he composes for theatre, film, and contemporary dance, weaving diverse influences into a distinctive sonic language.

Makyo taps into his love of roots reggae for this deep, dark and dreamy cover of Things Ah Get Tough by the legendary Bristol band Talisman. The Tokyo-based producer transforms the original, while keeping true to the essence of the original, whose lyrics meditate on the greed and destruction caused when corporations benefit from a nation’s downfall.

Makyo has charted his own course through the world of dub, often with an eastern or tribal twist, since the early 90s, working with collaborators like Bill Laswell, Natacha Atlas and Muslimgauze, but with this release, he’s entering a new phase.

“I’ve listened to this song for years,“ notes Makyo, “and it just felt more relevant than ever when I started working on it in 2024, with all the wars, election madness, wildfires, inflation and nuclear posturing. The mood just seemed to reflect where people were at.”

Having overcome crippling tinnitus and hyperacusis (to the point that he couldn’t even listen to music for several years), Makyo’s finding joy in the past whilst looking to the future, with this sparse and bittersweet version of Talisman’s tune the first in a series of contemporary covers he has planned.

DJ Support: Antal, I Cube, Noel Watson, Colleen Cosmo Murphy, Sean Johnston, San Soda, Takaya Nagase, Tina Edwards, Pete Herbert, Kenneth Bager, Severino, Aaron Paar, Felix Joy, Harri Harrigan, Laroye, Telford, Darker Than Wax, Rocky (X Press 2), Shane Johnson, Dan Tyler, Felix Dickinson and many more

Having previously released selected retrospectives focused on the musical output of Ryo Kawasaki and Joan Bibiloni, NuNorthern Soul has now turned its attention to the vast back catalogue of Jasper Van’t Hof’s pioneering electro-acoustic, Afro-fusion collective, Pili Pili.

The band was established in 1984 by Van’t Hof, a Dutch pianist who began his career in Europe’s jazz scene of the late 1960s, as a way of combining his love of jazz-fusion and the music of North-West Africa. Van’t Hof already had a reputation for combining roles in traditional jazz combos with more experimental and abstract projects. These included a spell in violinist Jean-Luc Ponty’s first band, years spent masterminding jazz-rock outfit Jasper Van’t Hof’s Porkpie, the recording of an all- electronic album (1982’s Visitors), and a celebrated collaborative live album with the great Archie Shepp, Mama Rose.

Pili Pili, though, was another step forward for Van’t Hof. Working with percussionists and vocalists from Benin and Mali (including the now legendary Angelique Kidou) and a string of adventurous jazz soloists (saxophonist Tony Lakoto and trumpeter Annie Whitehead included), Van’t Hof’s collective frequently combined live and programmed percussion, electronic and acoustic instrumentation, and the talented improvisor’s own memorable melodies and impactful solos.

NuNorthern Soul’s retrospective focuses on the most productive and celebrated period of Pili Pili’s near three-decade history, showcasing tracks originally recorded and released on studio albums released between 1984 and 2002. The six tracks on show offer an essential glimpse into the musical gold to be found across the Pili Pili catalogue.

In keeping with NuNorthern Soul’s previous retrospectives, the vinyl version of Selected Works 1984-95 comes with extended liner notes telling the remarkable story of this most unusual of cross-cultural collaborations. These feature extensive quotes, reflections and memories from Jasper Van’t Hof and were written by music historian Matt Anniss.

Releasing a first EP at 35, after more than 20 years listening to alternative music and 10 years of DJing, could only result in something matured - something fermented. Fermented Beats EP is a blend of raw club energy and emotional textures, where grooves meet melodies. Rooted in club music but infused with influences from across genres, it reflects years spent absorbing music from a lot of different angles, distilled into a few tracks that speak both to the body and to the mind.

FJAAK return with FJAAK014, a four-track EP packed with their signature analogue energy, funk-driven grooves and unmistakable Detroit-inspired synth work. This release is raw, percussive and unapologetically dancefloor-focused: Across four tracks, FJAAK once again prove why they remain one of the most vital voices in electronic music. The EP kicks off with 'Soulfriction', a cut built on a groove where power house meets jungle. It's a pure body-mover, all pulse and propulsion, with layered percussion that nods to classic warehouse sets while pushing things forward in true FJAAK fashion. On 'Run To Me', the duo bring soulful vocals in, weaving them into a driving rhythm that fuses housey breakbeats and thick analogue grooves. The result is a warm, kinetic blend of Detroit flair and modern funk sensibility, tailor-made for peak-time dancefloors. The B-side starts with 'Keep The Balance', a track that strips things down a touch. More introspective, but still locked into a deep, funky flow. It's mellow without losing movement, full of crisp drums and glowing chord progressions that let the groove breathe. Closing the EP is 'What's My Name?', a true FJAAK-style banger: Punchy kicks, sharp vocal cuts and a commanding low-end give it that warehouse edge. It's a punchy blend of groove and raw-energy, making it the perfect club weapon. The Berlin duo has been sculpting their sound identity with hardware-heavy, genre-blurring releases that span techno, breakbeat, house and jungle. With FJAAK014, they further refine their groove-forward vision, blending soulful vocal textures, infectious breakbeat energy and timeless Detroit-style synth work, making this EP another bold statement from a duo that remains on the frontlines of electronic music evolution.

Berlin-based duo Brigade returns with their sophomore effort, having spent the intervening years refining their approach to sample-based composition. Where 2022's "Hard Times, Soft Music" established their credentials as purveyors of comfort food electronics, „Unlimited Dreams Corporation“ finds the pair digging deeper into the archives, constructing elaborate sonic collages from decades of discarded vinyl.The fictional corporate framework, a company peddling bespoke dream experiences, works as an aesthetic guide, appropriate for 2025.

The fourteen tracks unfold with the patience of bedroom producers who understand that the best plunderphonic work happens in the margins. Brigade layers found sounds and field recordings with careful restraint, creating pockets of warmth that invite repeated listening. The broken beat rhythms feel lived-in rather than showy, while the more ambient moments provide necessary breathing room. It's headphone music that rewards attention without demanding it, the kind of record that reveals new details months after initial discovery.

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists. Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco. Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers.

Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe HarveyWhyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’. Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection – the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

DELUXE 4LP-SET IN SLIPCASE WITH GLOSS FINISH/4 PRINTED INNERSLEEVES/12 PAGE BOOKLET/40 TRACKS/COLOURED VINYL

Moody and Zeitgeist have had the utmost privilege to bring onboard a team of some of the most accomplished musicians/wordsmiths India has to offer for this album. Working out of Island City Studios in Khar West, Mumbai, the duo assembled a team of musicians including acclaimed and awarded vocalists Vinay Sugatha Ramadasan and Anuja Zokarkar. The pair bring a lyrical depth to the music informed by millennia of North-Indian classical poetry and melody. Metaphor and imagery is intermingled with EX GENERATION's unapologetic rhythm and production style to form something that is profound and complex, whilst also accessible and innate in the way it confronts the listener.

South Street International return with the house goodness once again, reissuing Vick Lavender’s house anthem “The L.O.V.E. Song (From Chicago To New York)”. Originally self-released on his label Sophisticado Recordings by the Chicago producer and musician, this is one of those timeless deep house gems that’s become an underrated weapon for discerning DJs worldwide.

Lavender – known for his work with Glenn Underground as part of the legendary Strictly Jaz Unit – has been shaping deep and soulful house for over three decades, blending world music, jazz fusion, R&B and more into a sound that’s both spiritual and deeply rooted in the dancefloor. Here he brings the best of both cities into one track: the soulful musicality of Chicago, the cosmopolitan polish of New York. Warm Rhodes, fluid percussion, and vocal refrains ride over a groove that’s equally at home in a dark basement session or a sunrise terrace set.

With originals changing hands for eye-watering prices on Discogs, this official reissue makes this must have record accessible again. Lovingly remastered by The Bakehouse and presented on South Street International, This record is a must-have for fans of deep house, and anyone who believes in the eternal conversation between Chicago and New York.

Kucera & Delayed Sentence Present the Analog Rhythms EP

Scrap & Delete continues its trajectory as a home for uncompromising techno with the Analog Rhythms EP. A collaborative release from Kucera and Delayed Sentence that merges their respective strengths into a tightly honed four-tracker of futuristic machine music.



Opening cut "Analog Rhythms" sets the tone with raw propulsion and hypnotic focus. Anchored by a driving low end and jagged synth pulses, it balances grit with surgical control. A track built for long blends and warehouse immersion.

"Between Networks" dials into a more kinetic space. Its interlaced groove patterns, off-axis drum programming and haunting vocal grooves create a feeling of constant shift, evoking unstable connections and digital interference while maintaining absolute floor impact.

On "Synthax," the duo lean into sci-fi atmospheres. Bleeding-edge textures swirl through a thickly percussive dancefloor orientated framework, creating a dark yet spacious momentum that's equal parts cerebral and physical.

Closing cut "Twisted Ankl3" is the EP's most unhinged moment. A wonky workout full of broken signal bursts and twitchy rhythmic grooves. It's a subtly evolving sequenced post-industrial DJ tool, leaving dancers disoriented and locked in.

With Analog Rhythms EP, Kucera and Delayed Sentence showcase a shared vision rooted in sonic discipline, hardware fluency, and unrelenting energy. This is high-functioning techno at its most distilled. A perfect fit for Scrap & Delete's refined catalogue.

Making his long-awaited return to Spatial, JLM Productions serves up another sizzling andvaried concoction of atmospheric breakbeat goodness.

A1 - Unraveling

Opening with a blissful, playful melody which fades in and out of effects and padwork,Unravelling shows off an insanely crisp 2-step break at its core - definitely suited for thedancefloor with a buoyant bassline rumbling beneath the waves. The track leaps furtherinto life with JLM adding some additional drums to elevate the breaks further still, all withserene, harmonious melodies dancing around in the mix.

A2 - Forced Perspective

A purposeful melody opens Forced Perspective as JLM Productions unleashes a stellarblend of atmospheric bliss with a unique epic urgency. Sci-fi synthwork surrounds anenergetic selection of drums edited with trademark clarity as layers upon layers of synthintertwine dynamic patterns with ease. This is a great example of JLM's expansive suite ofinfluences combining to create a deliciously detailed and unique whole.

AA1 - Surface Scan

Light cymbals commence a DJ-friendly intro to the second track, Surface Scan. Bothrousing and deep, smooth padwork leads into a drop which brings with it long, whooshingmelodic synths and crunchy stacked breakbeats. As the atmosphere develops, JLM addsin a bunch of effects and subtle, sumptuous sci-fi synthwork, strings and more to completeanother masterpiece from a true pillar of "old school brand new" methodology.

AA2 - Mixed Motive

Straight into a serving of subdued breaks perfect for the intro, JLM rounds off this stunningEP with Mixed Motive. This is a track which explores the atmospheric drum & basslandscape in style. Our creatively-edited breaks soon evolve into a crescendo of joyousdrum patterns with an old 720-style stabby melody punctuating the mix while deep &melodic basslines jostle below, adding dense texture to a stunning piece of music.

Words by Chris Hayes (Spatial / Red Mist)

Some records are answers to questions no one asked out loud. With Where is Acid Eric, Cornelius Doctor & Tushen Raï deliver a psychedelic missive from a parallel timeline — a time-traveling tribute to Goa’s golden age, filtered through their unmistakable signature.

Returning to their home base, Hard Fist, the duo steps into new territory with this release, and yet, it feels like they’ve been heading here all along. This isn’t a retro-fetishist trip, nor a copy-paste homage. It’s a reimagination of a sound, a space, and most of all, a spirit.

The EP is rooted in the mythic nights of late-80s and early-90s Disco Valley, where British acid house collided with Indian hedonism, where freedom wasn’t a pose but a necessity, and where dancefloors became temporary utopias. But in the hands of Cornelius Doctor & Tushen Raï, this past gets warped, stretched and reanimated with 2025’s tools and sensitivities.

Across three extended tracks, the duo summons a sound that’s dense yet breathable, tribal yet precise, nostalgic yet futuristic.

They weave Goa’s swirling trance lines with broken rhythms, analog squelches, and post-industrial textures. The acid lines are sharp, but never cliché — more mantra than gimmick. Voices float in and out like half-remembered chants. Basslines slide, hypnotize, and then vanish in a cloud of smoke. It’s not a flashback. It’s a vision.

The title, Where is Acid Eric, feels like a lost broadcast — part question, part invocation. Eric is a symbol. IS Eric a ghost ? The true legend of a forgotten raver on a dusty Anjuna morning. What matters is the search. The longing. The dance.

Hard Fist, true to its form, continues to blur the lines between ritual and rave, tradition and invention. And with this record, Cornelius Doctor & Tushen Raï don’t just revive a genre — they reconnect with an ideal: dance music as exploration, as transcendence, as resistance.

One foot in the dust, one foot in the cosmos. The answer isn’t important. The trip is.

London duo Babeheaven — vocalist Nancy Andersen and producer/multi- instrumentalist Jamie Travis — return after four years with their highly anticipated 5-track EP ‘Slower Than Sound’, released via Scenic Route on October 24.

Following their singles ‘Beloved’ and the 6 Music-premiered track ‘Picture This’, ‘Slower Than Sound’ marks a deeply personal and intimate turn for Babeheaven. Written and recorded largely in Nancy’s home studio, the EP embraces minimal instrumentation, acoustic textures, and spacious arrangements, capturing the emotional vulnerability and euphoria the duo describe as “Post Rave” — the music you listen to on the ride home from a
party.

“It feels like a rebirth in a lot of ways,” says Nancy. “Writing at home gave me space to experiment, make mistakes, and rebuild confidence. Once I brought the songs to Jamie, we shaped them together into what you hear now.”

The EP explores love, reflection, and personal growth. Beloved conjures a comforting, almost mythic presence, while Lost For Words reflects the struggle to connect with the world and oneself. Picture This offers snapshots of a relationship, looking back while imagining its future. The cover Tiny Demons by Todd Rundgren blends seamlessly with the EP’s introspective mood, and Loud Thoughts, featuring Samba Jean-Baptiste, captures heartbreak, burnout, and creative pressure. “I hope people can find their own meaning in these songs,” Nancy says. “I’m writing for myself, but music is for each listener to interpret.”

Since debuting with Friday Sky in 2016, Babeheaven have steadily built a loyal following through their acclaimed albums Home For Now and Sink Into Me, amassing over 65 million Spotify streams and earning support from BBC Radio 1, 6 Music, and KCRW. Their live shows have sold out Village Underground,

Bush Hall, and Jazz Cafe, and they’ve shared stages with Cigarettes After Sex, Loyle Carner, and Nilüfer Yanya. Visually, Babeheaven’s world has been shaped alongside creatives including Margot Bowman, Frank Lebon, Tegen Williams, Sacha Beeley, and Joyce Ng, cementing their reputation as one of the UK’s most distinctive acts.

After facing cancelled tours, industry pressures, and a period of creative doubt, Slower Than Sound represents a return to the core of their artistry: intimate, honest, and self-produced. Jamie reflects: “Not putting out music for so long was hard, so we hope this is the start of a more prolific period for us, reconnecting with the London music community and beyond.”

‘3' saw the core Lifted duo of Max D & Matt Papich unravel their visions of excess into their most divergent and wide-eyed collection to date. Presented here by Peak Oil in a vinyl edition featuring the painting of Jordan Kasey (yes, related to Martin Kasey, saxophonist on 2019’s LP 2) and packaged for a seamless listen.

First scene ‘Chefs’ places us squarely off-center, landing in a cinematic environment that feels a bit like steadycam Luis Bunuel , wine bottle whoo-ing and horn fanfare. Its music without a hard surface, defined more by its fluidity and characters, found sounds and performed dialogue. “Cymbecko” shifts gears into blissful ambient dub, and paves the way for a Luke Stewart led excursion into the uncanny that is ‘Trip Tongue’. Stewart’s upright bass never stops seeking, while Jordan GCZs Rhodes barely touches down before lifting back up into and out of Jacob Long’s (Earthen Sea, Esau) liquid tone sheets. An outside world of percussion accompanies.

The mood morphs and the scene cuts in hard with “Born in the Roof”, slacker techno that grows shimmering parts, Perlon for potheads. Voiceover slacks right with it, a half-convo caught in the billowing chorus of fx. “Macarena” snaps things into focus, working almost like an open window to airing out the heady fog. Simplicity in the vignette.

After “Mecha Perfume & Variety”, “Snow Dancing” reignites the drama, with burning guitar by Jonny Nash taking a plucky and sliding lead over wildly fused drums by Max D, we get a test of new depths for Lifted with the somber and exuberant “Whipped Cream”. Crackling like a radio but with modern propulsion in the form of richly evocative pads courtesy of Motion Graphics, it sounds like a dinner, a space trip, a storyboard, a scene, threaded together in bouncing, oblique ways.

"Bobby V" drops refreshingly, timed like a credit roll and leaving an afterglow that feels more tuned-in than ever.

Players on this album include: Luke Stewart (Irreversible Entanglements, Blacks Myths), Jeremy Hyman, Jonny Nash (Melody As Truth), Jordan GCZ, Matt Papich, Josh Levi, Mezey, Hirama, Dawit Eklund (1432 R), Motion Graphics, Max D, Jacob Long (Earthen Sea, Esau)




d 4.Born In The Roof Radio Mix
e 5.Macarena Radio Edit

SOPHIE’s ‘OOH’ and ‘GET HIGHER’ are now available as a double A-side 12" vinyl. This release follows the single-series packaging format used for the other singles from PRODUCT: one track and slide image per side, black vinyl in a black inner sleeve, screen-printed with a white SOPHIE logo housed in a clear archive bag.

Earlier in 2025, Numbers marked 10 years since SOPHIE’s game-changing singles collection PRODUCT, with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.

SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ were joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.

‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.

SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.

The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.

‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.

• Digital download card

Cassette music from Belgium and The Netherlands.

Again, a unique compilation by the leading Belgian re-release label Walhalla Records, specialized in minimal synth, cold wave, electro, and more. Following the widely acclaimed — and mostly sold-out — previous Underground Wave releases, totaling six albums so far and counting, there is now Volume 7. This release features Dutch and Belgian bands, each filling one side of the record. It offers a wealth of ultra-rare and previously unreleased material sourced from cassettes, deeply rooted in the electronic scene of the 80s and 90s.

Very excited to present this new project on Macadam Mambo, actually it’s not properly new…
Dr Strange was one of the alias of Erick ‘ADN’ Ckrystall’ circa mid-90’s till early 2000’s, when he was producing a sort of Leftfield-Trippy-Goa music, including a lot of Ambient stuff mostly released on CD on a series called Animorph. Everything had a very cinematographic touch like it was made for some documentaries about amphibians and snakes that would evoluate in the deepness of the jungle or on some exotic island...

The music was so magical, that the envie to do a mini-retrospective of the CD series came instantly, specially because none of those golden gems had never been printed on vinyl, It was also a good way to put into the light the Dr. Strange side of ADN’ Ckrystall which was kept in the shadow since many years and that deserves much more attention as the regain of interest for the goa scene has been rising in the last few years.

For the afficionados of proto/early Goa music and trippy ambient in the vibe of the Orb or labels like em:t or Barooni…

Lay Down The Groove returns with their first release in four years — and it marks a milestone. ChordPlay is the debut full- length album by the label heads, following their 2021 EP Pursuit of Sound.

Spanning seven tracks, the album captures a period of personal and artistic growth for the duo. Written and recorded across multiple studios and seasons over the past years, it flows effortlessly through tempos and moods while staying rooted in the pair’s emotive, synth-forward identity.

With a shift toward higher BPMs and more club-oriented energy — without losing the warmth and musicality that define the LDG sound dPlay signals a new chapter in the Lay Down The Groove story. Influenced by the rich legacies of Detroit and Chicago, the record features hardware-driven textures shaped by the Juno 6, SH-101, Prophet 8, Analog Rytm and MicroKorg.

Rooted in rhythm and feeling, ChordPlay captures Lay Down The Groove in evolution — looking forward while honouring their foundations.

Deeppa Record is turning five with a superb two-part compilation, and this second half dives into deeper waters than the first. It comes from a mix of both longtime contributors and contemporary artists whose evolving sounds inspire the label's direction today. Lars Behrenroth remix kick off with a tender and vulnerable deep house sound and Christophe Salin's gets more physical but no less gooey with its lush pads and rubbery kicks. Elsewhere, Thierry Tomas layers up lush r&b vocals and warming synth hues, Darryl Baalki brings jazzy expression to his fulsome house grooves and Eloi's 'Take Your Time' is a dusty closer laced up with lovely pianos. This is house for mature dance floors.

The saga of squelch continues. After the first round proved that the acid line might be the most durable cliché in dance music (and still the best one), part two turns the resonance knob a little further.
Steve Bug & Stefan Braatz, Deetron, Todd Osborn, and Mathew Jonson with The Mole join forces for another ode to the silver box - less museum piece, more perpetual motion machine. Proof that you can't retire a sound that never had a desk job.
Once again, Gasius supplies the visual psychedelia, while the tracks handle the auditory side of the trip.
Dial 303, accept the charges, and remember: the only thing more reliable than acid is its ability to surprise you.

In the late summer of 1994, Upadhmanyia (John Mackaay & Michel Rehatta) invited Leo Verhoef (LFU) to collaborate on a track. They met a few more times afterward at a power station converted into a studio in IJsselstein, The Netherlands. "Hasiya" was quickly born and was already in stores by early November 1994. John & Leo drove to house club iT in Amsterdam, where they gave the track to DJ Marcello, resulting in an iT hit! The track was quickly picked up by DJs worldwide, and Richie Hawtin used it in a live set in Denver on November 19th of that year, which can be heard on SoundCloud (Hasiya is mixed around 43:00). The track was also a huge hit on dance floors in England and Spain.
In late 1994, Hasiya appeared on a CNR Music EP titled "Welcome To The Club," along with four other hits from producers like Pete Lazonby, The Shaker, and Drum Club. A double CD of the same name followed in early 1995, released in Belgium, featuring Hasiya alongside artists like Robert Miles, Digital Express, Aura, Natural Born Grooves, and other hits of the era. In early 1995, Arcade released "House Party '95 the Kinky Klubmixx," mixed by Koen Groeneveld & Addy van der Zwan. The same CD was released in Scandinavia as "House Party '95 (5)." Hasiya flourished among the most popular house tracks of the time. The record spent three weeks in the Dance Music Mega Top 30 and peaked at number 22 around the holidays of late 1994.
For 31 years, Hasiya was only available on record, CD, tape, or YouTube. Starting November 21, 2025, it will be resurrected from the underground into the world of digital downloads and streaming. The 2025 Remaster, along with five new mixes, will be widely available, including a limited vinyl release of 350 copies. The 30 test pressings have already been received with open arms by various DJs and received immediate support from Eris Drew and Octa Octa during ADE.
Because Hasiya was created in 1994, the only available remix material is the original DAT tape, which, thankfully, was still stored in an old box in a dusty attic. Most of the sounds for the new versions have been recreated and re-recorded.
Rehatta's Reanimated Mix:
This remix - created by one of the two founders of Upadhmaniya - combines driving, percussive beats with a thrilling, progressive break featuring ascending, dizzying strings. This trick returns shortly afterward to rev things up again. An accessible remix for dance floors worldwide.
LFU 2025 Version:
This straightforward, raw techno version with a touch of acid is ready to rock dance floors. LFU's updated version of the 1994 original, which he created with Michel & John, will undoubtedly remain a head shaker from here on out.
John Consemulder Metaphysical Mix:
With a pumping groove and a funky bassline as an intro, John Consemulder's remix immediately strikes a chord. A refined and elegant approach to the original, with sounds as mysterious and exciting as the flowing lava in the 'Gruta das Torres' - a cave in the Azores - the setting where this tech-trance remix was created.
Davje Remix:
Davje's version begins with the typical club and hard-trance bassline of the late '90s. You're drawn into a trance journey where beat changes sometimes try to throw you off track. Davje's creative Hammond organ interpretation of the Hasiya theme surprises and transports you back to the hippie era by the end of his remix.
Bojcot Remix:
Junglist Bojcot creates an exciting, nuanced, and mathematical remix with a beat that feels like jungle and half-tempo. He conjures up the sounds of LFU's 2025 Version, creates a bassline that sounds like a disturbed bumblebee, and adds a surprising string section. Massive!

UK producer Tom Carruthers returns with a scorching 5-tracker for Skylax Records, diving headfirst into the primal roots of jackin’ house, proto-italo, and early machine funk. Known for his raw MPC-driven grooves on L.I.E.S., Clone Jack For Daze, Syncrophone, and Craigie Knowes, Carruthers channels the energy of the underground circa ’86—pure drum machine soul for the dancefloor faithful. Side A kicks off with the title track “Neutralise”, all sharp snares, warped synths and hypnotic repetition—a jack track in the truest sense. “Deep North” follows with ghostly pads and relentless drum programming, while “No More” brings metallic tension and stripped-down funk with a heavy nod to Chicago’s original blueprints. On the flip, “Pascals” weaves cosmic arps through rugged percussion, merging italo sensuality with bleep-era minimalism. The closer, “Cosmic Ride”, is exactly that: a journey through spacey chords, dusty rhythm boxes, and that unmistakable feeling of warehouse euphoria at 4 a.m. Neutralise EP is a raw, timeless record that strips dance music down to its essence—jacking, emotional, physical. To match the sonic purity and timeless aesthetic of the release, we enlisted the iconic H5 studio—a name synonymous with visionary design in music and culture. Known for their groundbreaking work with Daft Punk, YSL, and numerous award-winning visual campaigns, H5 brings a level of artistic sophistication that elevates this EP into a complete sensory object. Their clean, modernist design echoes the stripped yet futuristic vibe of Tom Carruthers’ sound—a perfect fusion of form and function, underground and high art. Vinyl only. No digital. No compromise. For fans of: Virgo Four, Baby Ford, Larry Heard, early Warp, Mr. Fingers, and Beppe Loda.

Swimming Paul’s music has always lived in the push-and-pull between euphoria and melancholy; the rare kind of electronic music that can make you cry while your body keeps moving.



On Smiling Through the Pain 2 (out October 24 via Headroom Records), the French-born, London-based producer doubles down on that emotional duality, delivering an album that feels as much like a diary as it does a DJ set.

Over the course of 15 tracks, Paul stitches together late-night catharsis, suburban nostalgia, and the jagged tenderness of early adulthood. The record is sequenced like an unbroken night out: the giddy anticipation, the sudden moments of reflection, the quiet comedown as the sun edges in. It’s an album that refuses to treat joy and sadness as opposites, they coexist here, often in the same chord progression.



“I don’t want to escape the feelings, I want to bring them with me” Paul says. “If you can’t stop thinking about something, you might as well dance with it.”

That philosophy runs through the singles: the emotional release of Holly (with Junior Simba), the aching nostalgia of Different Time, the hypnotic haze of Hard 2 Sleep, and the house-driven Drinking to Get Drunk, a bittersweet ode to nights spent outrunning your own thoughts. Elsewhere, Liza M1 folds heartbreak into an almost triumphant piano hook, while Shine a Light urges listeners to take risks and live without hesitation—as if youth’s boldness could be bottled.



Since debuting in 2023, Swimming Paul has quietly built an empire on emotional resonance: 150 million streams across platforms, 1.9 million monthly listeners on Spotify and more than 50 editorial placements (including Dance Party, Crying on the Dancefloor, Electronic Rising….), 10,000+ radio spins worldwide, and sold-out tours across Europe and North America. His sound has earned co-signs from BBC Radio 1, Triple J, KCRW, Sirius XM and a wave of DJs who value melody as much as momentum.

But Smiling Through the Pain 2 isn’t chasing charts, it’s chasing connections. Paul’s global fanbase, nurtured through a lively Discord community and nights on the road, has become a two-way conversation, with fans’ stories feeding back into the music’s emotional core.
This autumn, Paul takes the album to stages that match its ambition, from London to a string of US club dates, festivals and intimate pop ups designed for shared release.



Smiling Through the Pain 2 is an invitation to feel everything at once. To sweat through the sadness. To let your guard down under strobe lights. To realise that the best nights out don’t make you forget; they help you remember.

François X closes The Skin Between Us with a final chapter that sharpens his vision.

Where Part I explored heritage and tension, Part II brings clarity — two new tracks that affirm his belief in techno as something lived, not abstracted.

Before I Knew The World is immersive and weighty, built on reverberant kicks and magnetic pads. In Memory Of is more direct — a driving, knight-like piece balancing percussive force and tenderness.

Rooted in the legacy of Black American dance music yet shaped by the European club experience, François X’s sound remains hybrid, sensual, and human.

This vinyl edition gathers the complete project — all five tracks from Part I and Part II — pressed into one record, capturing the full journey from friction to clarity.

From the soulful underground of Argentina comes a new chapter on Abuelo Negro Limited, the Taylor Fass EP. A beautifully crafted release that bridges emotion, groove, and timeless aesthetics. Each track unfolds with subtle depth: warm pads, dusty percussion, hypnotic basslines, and that unmistakable deep-house pulse that feels both classic and fresh. It’s music for intimate dancefloors and late-night reflection, the kind of sound that connects body and soul without ever forcing attention. Taylor Fass EP embodies the label’s spirit, raw yet refined, deeply human and full of feeling. The stunning artwork completes the vision, reflecting the warmth, nostalgia, and understated elegance of the music itself. A heartfelt release from Buenos Aires to the world, for those who still believe that house music is more than rhythm, it’s emotion.

Legendary Mello Music Group producer Apollo Brown's feature packed album including Oddisee, Evidence, Freddie Gibbs, Masta Ace, Vinnie Paz, Westside Gunn, Sean Price and more! 19 full boom bap classics. A celebrated fan favorite with over 20 million streams is finally back on vinyl with this special double lp olive green edition.

Disco 5 is the latest instalment of Pet Shop Boys’ continuing ‘Disco’ album series, which started in 1986. The 12-track collection features ten Pet Shop Boys’ recent remixes of songs by artists including Noel Gallagher's High Flying Birds, Primal Scream, Paul Weller, Tina Turner, Claptone, Wolfgang Tillmans and more, as well as a remix of their own track ‘Dreamland’ featuring Olly Alexander.

Break 3000 - Human Nature EP

A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.

“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.

“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.

The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.

Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.

All tracks mastered by Salz Mastering in Cologne.

Souldynamic swings back onto the Samosa label with the mesmerizingly rhythmic West-Side Of Afrika Vol. 2.

We kick off the A-Side with ‘Touma’ – a truly hypnotic tribal afro vapour that entices you into the fire-lit night. A heavy dub-style bass just about dominates above the rhythmic ensemble, whilst the haunting chanted vocals elevate the track to ethereal levels. Stunning. No wonder Ron Trent has been spinning this one in his sets for the past few weeks – it’s right in that spiritual zone where deep house meets ancestral ritual.

Second track on Side A is the happiness trip that is ‘M.I.L’. Rolling drums, marimbas and a killer bassline merge with the flighty guitar riffs and smiling vocals. You could be in a bar listening to the music live in the room, smoke filling the spaces and dim lights offering a glimpse of good times.

Heading over to Side B and you find the enchanting ‘DJA’ awaiting. A deep roller of a tune, Souldynamic shifts the gears whilst serving the entrees. A truly magnificent slice of West-African vibes, ‘DJA’ has it all from the gorgeous vocals to the chugging, hypnotic beat.

Track 2 on Side B is the sultry ‘N.T.F.P’. The BPMs are touched down a notch for this one but don’t let that fool you. ‘N.T.F.P’ is a musical celebration of joyous beats, slaps, claps, brass and Afro vocals. You don’t get it much more authentic than this.

West-Side Of Afrika Vol. 2 is like a shapely hand in the perfectly fitted glove that is the Samosa label. A truly stunning piece of vinyl with every track as strong as the last. A sure-fire winner.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

Sex Tapes From Mars presents Outdom Records' boss, LATENT, who shares a brand-new four-track EP that spars with breakbeat, electro, house, and left-field electronics, neatly centring them all into a steady, sexy collision. The record as a whole captures genuinely original-sounding, rough-edged b-boy breaking badness - nostalgic, but never polite. It's a few BPMs slower than Sex Tapes' last few outings, but no less effective. Arguably, it's more late '80s sounding than ever, although, in fact, it's a brand-new, stonking release that showcases the label's versatility and unpredictability.

The opening track, "Break Machine", sets the pace with a clear nod to the '80s US group of the same name, bringing tidy drum workouts and clipped vocal samples that recall early Chicago, as well as choppy rave and street party energy at its most unfiltered.

"Disco Hijack" pushes the clutch into a more functional gear, merging delay-heavy, druggy, chuggy, sludgy bass with more robotic vocoder tropes, sharing something playful but IDM and European skewed. It's a dancefloor tool with a wink - just the style this now accomplished label has made its identity. Oh, don't forget the amens and clattering jungle breaks. 1990 or 2040? Fuck knows.

On "Distress Robot", pneumatic percussion and malfunctioning android chatter bring a darker, more mechanical edge, while "Virtual Body" closes with a spacious, garage-leaning shuffle that pulls the EP into recognisable contemporary yet still very much peak-time territory.

LATENT gives lean grit, pushes the edges, and lets the tracks feel alive in their imperfections. It’s music that thrives on tension between old-school reference points and modern floor pressure.

Bristol's label head Elon Dust HAS done it again.

Vinyl-only as per, don't sleep."

Channeling inventive sound design into incisive, characterful techno variations, Jurango returns to Livity Sound with an eight-track double EP — his longest release to date. Taíno Gold captures a moment in time for Bristol-based Nate Reece's continually evolving sound as it draws on the full spectrum of UK club music.

Following a debut for Livity's reverse label in 2021 and last year's An Amorphous Mass EP, Reece is more assured than ever tackling a variety of club-focused cuts. The tracks on the release all came together before, during and after a two-month visit to Reece's grandparents' home — an idyllic tropical environment in a small community at the top of a hill in the northern part of Jamaica.

Taíno Gold refers to the island's indigenous Taíno community and the legend of a witch luring Spanish settlers into a trap on the Martha Brae river. There are no messages explicitly embedded in the music, but the release is both a personal reflection of Reece's own experiences and family heritage, plus a reminder about the enduring sceptre of colonialism and the continued need to fight against it. From absorbing Jamaica's fraught history through museum and plantation visits to the abundant nature in the garden surrounding his grandparent's house, the double EP marks a place in time for Reece, with eight advanced, ear-catching tracks as the end result.

From the cascading arps of 'Black Torches' to the tunnelling chords of 'Waiting For Trelawny', the melodic dimension of the Jurango sound is more confident than ever. 'Hibiscus' is a shimmering celebration of dub techno and crooked drum pressure and 'Chalk On Trees' basks in aqueous, fathoms-deep pads to close out the EP. Elsewhere, Reece brings new textural and tonal detail to his percussive workouts, splashing acidic noise around the angular experimentation of 'Maybe It's Broken' and firing off double-time rhythms to inject 'Double Sevens' with infectious urgency.

With the space afforded by a longer release, Reece widens out the scope of his artistic identity while absorbing the particular scene and setting that surrounded him while making the tracks. Taíno Gold is a vibrant next step for Jurango and a natural continuation of his work with Livity Sound.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

The neon "pdqb Arcade" sign in Port Astra flickered with the same chaotic energy it had decades ago. Six men, now with more gray hair and worries than they once had, stood at the entrance. They were the "Lucky Six," reunited after years of scattered lives and separate paths.

"I can't believe this place is still here" said Noise, who had flown in from Tokyo. "It hasn't changed 8 bits, haha". CEM, now a father of 3340 synthesizers from Bari, replied with a grin. "We have. Look at Galaxian, he's unrecognizable!"

Each of them held a single, precious coin. Their plan, born of a wave of nostalgia and the understanding that they couldn't stay forever, was simple: one coin, one game, one last chance to be a legend. Each man would choose the game that meant the most to him and play the round of his life…

At the end, pdqb, the arcade owner, came up to the guys. "Don't be sad", he said. "Even if it was your last credit, there's always one more somewhere in some game". He then walked through the arcade and played four different machines that just happened to have an extra credit on them. "See?", he said.

Synaptic Cliffs proudly presents pdqb together with six black belt gamers (PRZ, Noise&Noise, Galaxian, CEM3340, Dark Vektor, Mesak), each a legend in their own right. They don't just replay pdqb's 8 1/2 Bit album; they become it. Together, they embark on a journey through legendary worlds, creating a place filled with soundscapes and challenges that blur the line between music and game. They move with the rhythm of the music and face the challenges within, weaving their own stories into the fabric of the iconic work.

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

2025 Repress

Two revered dance music institutions come together here as Pye Corner Audio steps up to Emotional Response with his debut EP for the label. What's more, it is a two-parter with the second half also available now. This one from Martin Jenkins finds him making an homage to the acid house he has always loved with opener 'Stegan Acid' starting with slow grocers and foggy moods run through with subtle 303 modulations. 'Magnetic Acid Three' is another deep and stripped-back sound with rumbling drums and bass coloured with soft acid contours and 'Thermionic Acid' gurgles a little more as the icy hi-hats cut through a mutant deep techno swamp. 'Magnetic Acid One' is one final meditation on acidic house depths.