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First Word Records are very proud to present a heavyweight EP in collaboration with seminal groove collective, CoOp: 'Selectors Assemble'.

It's been almost two decades since a bunch of music makers, bored of the genre constraints of their time, began toying with time signature and syncopation to birth what is now known as broken beat. Summer 2017, the 'Selectors Assemble' EP is in our laps and we have a fitting reminder and long-overdue renaissance of one of London's most valuable musical movements.

IG Culture and Alex Phountzi were integral to this movement, the focal point being the CoOp club night, which ran predominantly on the famed floors of Plastic People, up until 2007. CoOp remerged late in 2015 as a Boiler Room session, in which the originators linked effortlessly with new school players such as K15 and Alex Nut. The following day, a session was inspired between an assortment of artists, and the seeds were planted for the 'Selectors Assemble'.

Here we have the first offering. The steady-paced roller of 'Gangz' (IG & Seiji), the dutty wine-ready getdown of Henry Wu's 'Substance', the heads-down low-end theory of '2nd Intention', the dominant soundclash call-out of the 'Spartan Riddim', riding out with the garage-flecked jam 'Can't Hold It', also featuring Sonar's Ghost (Domu). Five tracks deeply rooted in groove and as beautifully diverse as Bruk ever was.

Pressed up lovingly onto 140g vinyl, this release is accompanied with a fully-printed insert, featuring an extensive piece on the history of Bruk, written by Andwot (Touching Bass), classic photography by Sarah Ginn, and full-colour artwork by Mitchy Bwoy, a legendary artist to the original scene in his own right. This is an essential artefact for followers of the sound, new and old.

First Word prides itself on its ethos of musical diversity, and we're ecstatic to welcome aboard the CoOp foundation to the stable. A crew of British dance music pioneers, sound-system legends, and now-school heavyweights, this is but a taste of what's to come. Lead by the don IG Culture, the family spirit has quickly formed, the selectors have assembled.

The stage has been set for bruk's second wind. Be ready.

A A1 | Henry Wu - Substance (IG Culture & Alex Phountzi Remix)

Superb new Album from APPART, breakbeat Tango and Electroswing master pieace full of electronica

Repressed !

2LP in gatefold with liner notes. 180gr vinyl. Download code included. A new, twenty-track compilation focussing on a twenty-year period (1950-1970) of modern jazz in the little kingdom, featuring the leading players from that era.

Due to the absence of its main players during the heydays of modern jazz, Belgium will not be remembered for a unique jazz sound or an extensive discography. However, the little country produced a number of highly talented musicians who played lead roles on the international jazz scene.
'Let's Get Swinging: Modern Jazz in Belgium 1950-1970' retraces their steps and presents some of their finest works, including guitarist Philip Catherine, saxophonist Jack Sels, multi-instrumentalist Jacques Pelzer and vibraphone player, percussionist and vocalist 'Fats' Sadi Lallemand.^

We can attest 'Despertar' is one of the most intriguing and beautiful albums to emerge from the Spanish's electronic music scene in 2017. A celebrated debut by the artist Piek, emerged from the most versatile musical scene, not in vain he creates inspired by the magic of great names such as Sigur Ros, Moderat or Bonobo.'Despertar' is the title chosen for the debut LP of this producer and dedicated music lover from Pamplona

- Weller's landmark, multi-platinum selling No. 1 album which stayed 87 weeks in the chart. It spawned the classic hits 'The ChangingMan', 'You Do Something To Me' and 'Broken Stones'.
- Gatefold LP sleeve featuring legendary Peter Blake design
- Colour inner sleeve with photos and lyrics

We gladly present our first release with artists like Maik Yells, Claude Karl.son, Martin 'M and Andre Lemont.

Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.

Susso, aka bassist / producer Huw Bennet, creates music inspired by, and directly sampling, the magnifcent sounds of the Mandinka people, recorded during a recent trip to Gambia.
Initally travelling with the aim of gaining perspectve as a musician and to discover a new world of music frst hand, Huw found himself humbled by such a welcoming community of artsts, mostly belonging to the celebrated Suso and Kuyateh griot families.
The tracks are composed entrely from original source material, feld recordings and Huw's talents as a mult-instrumentalist; performing tuned percussion from the region including
the Mandinka Balafon, Kutringding drum, aswell drawing on his skill as a professional upright / electric bassist. The music produced has a contemporary electronic sound, whilst
stll paying homage to a traditonal Gambian aesthetc. Keira (meaning peace) guides the listener through Huw's journey up the River Gambia, being welcomed into remote dusty villages, where your people are the most important thing in life.

This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica.
Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.
The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more.
100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash.
This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.
The album is available as CD, heavyweight double vinyl (+download), plus digital.

Outcast Oddity launch another various artists fro their second release, this time seeing four unique artists take on bumpy, pounding house and techno jams. Melodic, ghostly and totally enthralling.

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

Four years since they released Dring, Nôze are making a very welcome return to Circus Company with their fifth album Come With Us, and once again the pairing of Nicolas Sfintescu and Ezechiel Pailhes has yielded a collection of captivating and curious songs that could only come from the unique sound world they inhabit. As has been evident throughout their career from their early experimental house days through to the more recent song-based material for Get Physical, the Parisian duo have always moved on from album to album, maturing their sound to deliver a new experience for themselves and their listeners every time. On this occasion, Come With Us finds Nicolas and Ezechiel in a particularly introspective mood. Even as their work has naturally turned more to home-listening craft over the years, here they revel even more in personal reflection both musically and lyrically. Tracks such as Saint' conjure up the romanticism of dustbowl blues with its vagabond guitar tones (played by long time collaborator Thibault Frisoni), while Nicolas's voice reaches new distinctive heights in spellbinding tales like Apache". Emiliano Turi also lends a new sense of natural groove to the Nôze sound with his live drumming, and as ever, Nicolas and Ezechiel are keen to bring their friends into the fold for guest vocal spots. Dani Siciliano spars beautifully with Nicolas on the disco-inflected album opener I Need To Know". dOP vocalist JAW, fresh from his Midtown project, joins in for the bittersweet balladry of Come With Me".

After dancing with HNNY under the disco ball and staying up late listening to Mella Dee's warehouse tracks it's time to go visit Detroit with Esa.

Have a listen to Umatic 3000 and you'll understand why Tooli started sweating while listening to the demo the first time.
Futuristic and deep dance music from a space ship that crashed somewhere in Detroit. 8/8 (Son Op) on the flip is a dramatic interlude that leads straight into Big Snoek, a track that both sounds and smells like a modern Global Communication tribute.

18+ - Trust
Out 10th Nov (shipping next week) - Pre order Now
'Trust' is the debut album from 18+. The band, Boy and Sis, have been operating since 2011 and have evolved through several media formats of music, performance and visuals which graphically explore identity, gender, sex and morality.

The sound of 18+ has bewitched its audience; sonics which are at once over-bearing and subtle, the delicate voice of Sis spitting sweet nothings over fucked-up beats and hooks which hack their way into your subconscious and never leave. Their mixtapes to date have existed in the dark underbelly of the world wide web, and their debut single 'Crow' sold-out of physical copies in unbelievable time.
Available on 2XLP or CD

Jungle are based around a core musical duo of lifelong friends known simply as 'J' and 'T', who expand to a thrilling seven piece live, and make mesmeric, kaleidoscopic modern soul that's unmistakably born in the UK but has true global appeal. The album was recorded between the band's own home studio in Shepherds Bush, London and the XL Recordings studio in nearby Ladbroke Grove.

The debut album by the L.A. based Dexter Story. Featuring many guests artists such as The Life Force Trio, Mark de Clive-Lowe and others !

PARK PLACE With PAUL TILLMAN SMITH

MAGAZINE GIRL b/w SIMPLE LOVE LIFE
IZIPHO SOUL in association with CHUMP CHANGE RECORDS is thrilled to announce an intriguing new 7”.

From the pen and production prowess of Oakland’s unsung hero Paul Tillman Smith, ably assisted by co-producers Nelson Braxton and Levi Seacer Jr. we present the following musical gems:-
‘Magazine Girl’ featuring the striking vocals of Donnie Williams singing a tale of fantasy. Delightfully crafted for this record, ‘The Catwalk Mix’ by Philip Ward.
‘Simple Love Life’ - modern-day soulful boogie of the highest order, featuring the sensual voice of Terrill Carter.
Also included is Paul Tillman Smith’s ‘Country Rap Epilogue’ cut as a separate track to offer both a humorous twist and context to the song.

Dual label design to reflect the theme’s of each side.

Jazzbois is a jazz-hiphop fusion trio from Budapest, Hungary. Their studio albums and live shows are all equally heavily rooted in improvisation and momentary self expression, each performance is absolutely unique and daring.
In the past 3 years Jazzbois has played SOLD OUT headline shows in: Melkweg Amsterdam NL, Jazz Café London UK, Village Underground London UK, Duc des Lombards Paris FR, La Hasard Ludique Paris FR, Gretchen Berlin DE, Knust Hamburg DE, Ekko Utrecht NL, Simplon Groningen NL x 2, Jassmine Warsaw PL x 2, AKvarium Budapest x 3
Played on festivals like: Montreal Jazz Festival CAN, Montreux Jazz Festival CH, SZIGET HU, X the Tracks London UK, Brick Lane Jazz festival UK, Jazz á Vienne FR, Istanbul Jazz Festival TR, Jazz Open Stuttgart DE, Blue Summer Festival PL, Jazz Around PL, Jazz in the Park RO, JAZZx RO…

In June 2025 Jazzbois performed at the Montreal Jazz Festival in Canada. The boys were approached by Rémi Hermoso to record a live session video in front of a small audience in Studio Fast Forward. The session was planned for 4 hours to have time to record with a small live audience, but Jazzbois went in and played 5 songs in only one take without any pause and were done with the material. They handled this recording session like all of them, do one take and be done with it. This way they can get the essence of the moment and not have to worry about making a mistake and starting over. All of these are part of the song, it's honest and raw as it was born right in the moment.

“We did all this for the passion of it, for the music and for the culture, thank you to old and new friends who took part in this intimate gettogether” - said Viktor Sági ‘Vanis’ bass player of Jazzbois.

New chapter on the internationally famous labels "Ocean Trax" and "Confidential Records"

“Shake That Brake” an energetic track that blends classic House elements with a modern club sound.

“Late Night” by The Rituals is a vibrant soul/funk/disco track infused with retro flair and modern polish.

Driven by groovy basslines, tight rhythmic patterns, and shimmering disco elements, the song delivers a warm, feel-good energy.

Funky guitar licks and dynamic arrangements blend seamlessly with soulful influences, creating a lively and infectious atmosphere made for the dancefloor.

“Let Me Show Ya” by Memi P & Andrea Tomei is a groovy soul/funk track packed with rhythm and attitude.

Built around a tight bassline and punchy drum patterns, the song delivers an infectious groove that instantly grabs attention.

Funk-driven instrumental touches and smooth vocal elements blend seamlessly, creating a vibrant, feel-good atmosphere rooted in classic soul energy with a contemporary edge.

“You Know How To Love Me” for this track Gianni Bini and Memi P. joins forces to create a new soul-funk anthem perfect for dancefloors all across the world.

With the help from Fatimah Provillon’s rich and expressive vocals this track has a timeless yet modern sound, a perfect fit for nu-disco, funk and soulful dance playlists.

“Feel The Rhythm” by Memi P is a driving house track built around a solid groove and infectious energy.

Steady four-on-the-floor drums, pulsating basslines, and vibrant synth elements create a dynamic club atmosphere.

The track balances rhythmic intensity with catchy vocal touches, delivering a powerful and uplifting vibe designed to move the dancefloor.

Transversales Disques proudly presents PANORAMA Vol. 2, another deep dive into rare French soundtracks, Library music, and instrumental oddities that have largely remained untouched by reissues or compilations.

This curated selection features 11 forgotten gems recorded between 1968 and 1980. It showcases the brilliance of celebrated maestros like Francis Lai, Karl-Heinz Schäfer, Eric Demarsan and Jean-Claude Petit, standing shoulder-to-shoulder with unsung composers such as Oswald d'Andréa, and Jean-Louis Bucchi.

Embark on a cinematic journey brimming with moody string arrangements, funky flanged drums, signature French basslines, and deeply dramatic atmospheres.

Deluxe Tip-On jacket LP with printed innersleeves
Including exclusive and extensive liner notes.
Vinyl Only / No Digital

Following the sold-out first volume, the Belgian label Covadia presents a second chapter of Les Belgicains, focusing on the European rumba created by Congolese students in Belgium during the 1960s.

Volume 2 includes 11 rare tracks originally issued on 45 rpm singles or never released before. Highlights include the dancefloor favourite “Guaracha Fredo” by LOS NICKELOS and previously unreleased recordings by the orchestra EBUKA EBUKA, like the swinging “Merengue Soucouss” and the emotional “Mpenzi Niambiye”. The songs unmistakably express a longing for recognition and for a rightful place for a new nation.

This songs were recorded years ago and were sleeping in the computer for some reasons...

After the Dezzi D tune was released last year on an LP on Chouette Records, All Nations puts out this 12" with the song from Afrikan Simba on the same riddim, plus an extra cut from Puppa Djoul, talented multi instrumentist from France.

Since the early 2010s, photographer and producer Izaak Schlossman has been surreptitiously using the Topdown Dialectic moniker to frame his most enigmatic and most psychedelic productions: faceless pure sound experiments that ogled dub and techno archetypes from somewhere far beyond the veil. This generous 2LP collection surveys over a decade of persistent activity, pulling together recently unearthed gear written between 2013 and 2016 (the same time period as the iconic Peak Oil trilogy) and muddling it with more contemporary material. It's a rare chance to fully comprehend the slow, measured evolution of the project: its genesis as a method to fractalize various bass music frequencies with suggestion rather than over-compression, and its ongoing advancement through sensitively finessed ASMR ambiance towards spangled neo-psychedelia.

So it's no surprise that the lengthy suite of five-minute snapshots was initially devised while Schlossman was preparing for his first ever Topdown Dialectic live appearance in 2025. A hazed early morning, open air performance that's still lodged in the memory banks of anyone who witnessed it, the set provided the narrative anchor for the album, blurring the past and present and reaching tentatively into the future - ideal material for audiences whose brains are fully plasticized. The tracks, while divided, sound as if they're breathing over and into one another; beats and phrases materialize and dissolve just for moments, leaving the mind to fill in the gaps with any available sonic material. What might reflect the bright neon light of acid house at first soon embodies the flicker of a candle over a desk of drum machines in a Midwestern basement, or the first blush of sunlight over a tiny campground as subwoofers creak in the distance.

It's music that asks the listener to be involved in the creation itself, projecting their own shapes on the negative space, their discreet fantasies on haunted stretches of near silence. Schlossman's identity was never the point, Topdown Dialectic was always a scrying stone intended to divine far more personal revelations.

Baccanalia is the new EP from PS5 : a collection of visionary dances inspired by the world of classic mythology. The syncopated rhythms and the ritual chants evoke war dances, satyrs ‘ parades and rites of passage and transformation. A deep sonic trip emerges, in which stylistic features of contemporary jazz interlace with ancestral suggestions creating a musical experience that is both physical and mystical. Pietro Santangelo is among the most prominent and recognizable voices of the contemporary Neapolitan music scene. Starting from the seminal experience of Slivovitz and the underground of the Crossroads Improving improvisation collective, in recent years it has given shape to PS3 and PS5, two of the most innovative ensembles in Italian jazz in recent years.The sound of his saxophone has characterized iconic records such as Nu Genea ’s Nuova Napoli and Dario Bassolino’s Città Futura, is featured in bands such as Fitness Forever, Funkin’ Machine, Khalab, Ex Generation (Napoli Exchange), Circolo Psiconautico, and many others.

For UnExposed Records first vinyl release, Uruguay’s Marcos Coya wanted to show the world a different side of his artistic approach. In a world of monotonous copy/paste, Marcos wanted to bring something unique to the table. A compilation of spacey, dreamy & emotional tunes custom built for the dance floor yet still experimental as well. Deep grooves & long developments. No fluff. No overbearing bangers. True underground production principles. Crafted for those with a refined palate.

The A-side is dedicated to Marcos Coya’s four to the floor production work. This sonic expedition begins w/ a bang: the record’s title track “Moon Trippin”! A showcase of freaky melodies accompanied by groovy percussions which bolster a vocal of Prince speaking his mind about the true essence of creating musical art & his disdain for mainstream music industry critics.

“Delirium” closes out the A-side w/ a dreamy acid house tune adding an emotional touch to the record. After hours material. A real step forward for Marcos and his production work. Leaning heavier than ever into trusting his melodies. Taking a bit more risk with his approach by creating something you’ve never heard from him on any of his nearly 20 vinyl releases over his career.

For the B-side we shift over to a more breakbeat approach with 2 absolute heaters. B1 introduces the track Hearthug has claimed to be one of the tracks of the year: “Rage Dog”. Rage Dog is a Marcos Coya signature track due to its rock & hip hop influences developed during his adolescence. Marcos even purchased new synthesizers specifically to improve this track & its melodies. The cherry on top is the vocal from Rage Against The Machine’s front man, Zack de la Rocha, which adds a rebelliously political undertone to the record, something UnExposed & Marcos both are very proud to address w/ passionate conviction during this time of war and injustice.

We close out the record with “D.N.A.”, the most experimental piece of art on this vinyl release. A wild combination of breakbeats, guitars, melodies & crazy vocals. The perfect bizarrely fascinating conclusion to this wild trip to the moon and back.

Early support from heavy hitters such as: DJ Koolt, Anthea, Velasco, KT, Hearthug, Mario Liberti, Daïf & many more!

We are pleased to announce the first FEX live album, Don't Look Back. The release features selected recordings from two concerts in Paderborn and Uelzen, both captured in 1985. All tracks on the album are previously unissued, including entirely unheard songs such as It's a Hard Life, Just Get Back, Legend, and Waiting Song, alongside a previously unreleased version of Subways of Your Mind, widely known as "The Most Mysterious Song on the Internet."
One of the most striking aspects of the album is the remarkable sound quality of the live recordings, as well as the strength of the performances themselves - particularly given that FEX were still considered a newcomer band at the time. The four-piece lineup consisted of singer, guitarist, and primary songwriter Ture Rückwardt, Michael Hädrich on keyboards and occasional second guitar, Norbert Ziermann on bass, and Hans-Reimer Sievers on drums. In 1985, the band was preparing for broader exposure through a nationwide tour organized by the small promotion company HBM-Musikbüro.
The album opens with the psychedelic Skyscraper, a track Rückwardt reportedly regarded as a personal favorite to perform. Hädrich contributes dynamic synthesizer layers, while Ziermann underpins the track with a distinctive slap bass groove. This is followed by the energetic rock number It's a Hard Life, which once again demonstrates that the band possessed multiple songs capable of matching the impact of their best known track Subways of Your Mind.
After this energetic opening, the album shifts into a more restrained mood with the synth-pop ballad I Got My Eyes On You. It is followed by Strange Feeling, presented here in a particularly compelling live version that arguably surpasses the previously released studio demo featured on the Skyscraper LP, with Rückwardt delivering one of his most expressive vocal performances. On Goldrush, another fan favorite, it is Hädrich's DX7 synthesizer work that stands out.
Don't Look Back continues to flow seamlessly, moving between styles such as new wave, synth pop, and a blues-influenced form of classic rock. On It's Good To Know, a song addressing the theme of stardom, the band returns to a heavier rock sound. In contrast, the synth-driven Just Get Back reflects on the conflict in Northern Ireland, then ongoing at the time. Lines such as "It's the money, it's the money why they come along" are directed at mercenary soldiers, while "even Sunday's a killing time" directly references Sunday Bloody Sunday by U2.
Previously known songs such as Dirty Slapstick and Heart in Danger lead into We Don't Want It No More, perhaps the band's most striking pop ballad. It is easy to imagine that the track had the potential to achieve radio success in the 1980s. The following piece, the epic Legend, explores themes of loneliness and love simultaneously. With poetic and abstract lines such as "some isolate in the falling rain" and "that's why I count all the reasons they call out for living, sadness is falling inside," it builds an almost eerie atmosphere.
One of the final highlights of the album is Subways of Your Mind, recorded in Uelzen. In this version, Rückwardt's vocal performance is even more on point than on the previously issued recording from Paderborn. Another notable moment is the driving, 1970s-inspired rock 'n' roll track Waiting Song. Both the composition and its live performance carry an energy that could easily stand alongside the repertoire of bands such as AC/DC. It was usually the track that FEX ended their concerts with, calling out each band member at the end of the song.
This leads to a broader reflection: it is striking that FEX did not achieve a wider breakthrough at the time. The performances captured here suggest a band capable of delivering consistently, song by song, note by note. It is not difficult to imagine FEX performing in large venues and engaging sizeable audiences. In reality, however, most performances in 1985 took place in front of relatively small crowds. The recordings featured on this album originate from the Roxy club in Paderborn and a small, unknown venue in Uelzen, likely in front of fewer than fifty attendees.
An essential figure behind these recordings is the engineer known only under his nickname Hase (German for "rabbit"), who was responsible for capturing not only these concerts but many other surviving FEX recordings. Bringing his own mixing desk to performances, he developed a deep familiarity with the band's material and was able to shape the live sound with precision, including the timely use of vocal effects. The original recordings existed only on cassette and required careful and extensive restoration work. Zoey Cairs was finally responsible for bringing them to their present quality.
This album marks the beginning of the Live Waves series, following the rediscovery of additional recordings that have gained international attention since November 2024, when they surfaced through what has been described as the largest "lost wave" music search to date. The title of this first live LP Don't Look Back carries a certain paradox. While the album invites listeners to revisit recordings from forty years ago, FEX themselves were always oriented toward the future. In that spirit, further releases of brand new material are already planned.
The cover artwork is once again based on an image by Magnussen from the Kiel archive, depicting the Prinz-Heinrich-Brücke. The bridge, once located in the northern part of the city, no longer exists. As a symbol, however, it remains fitting: a bridge stands for movement and connection - qualities that FEX sought to embody on tour, bringing their music to different places and audiences.

Alva Noto - Wave Weave – Sono Obi is the original soundtrack by Alva Noto, composed for a film by Carsten Nicolai.

- The project emerged from a collaboration with an 12th-generation kimono textile manufacturer in Kyoto, Japan.

At its core, the work explores the translation of sound into textile form: sonograms of musical compositions serve as the basis for woven structures, connecting acoustic frequency patterns with traditional weaving techniques.

Alongside the original soundtrack, the release includes an alternative soundtrack version and a photographic documentation featuring sonograms, soundtrack visualizations, and film stills.




Tracklisting
---------------------------------------------------------
Medium: 1 // Side: A // Track: 1

Artist: Alva Noto
Title: Sono Obi Wave Weave
Playtime: 00:22:00
Explicit Lyrics: No
ISRC: DE1N62600001
(P): 2026 NOTON

Composer: Carsten Nicolai
---------------------------------------------------------
Medium: 2 // Side: B // Track: 1

Artist: Alva Noto
Title: Sono Obi Landscape
Playtime: 00:06:10
Explicit Lyrics: No
ISRC: DE1N62600002
(P): 2026 NOTON

Composer: Carsten Nicolai
---------------------------------------------------------

DJ Support: &ME, Adam Port, Oliver El-Khatib (OVO Sounds), Moblack, Antdot, Maxi Meraki, Sam Divine, Shimza, Benji B (BBC), SARZ, Kilimanjaro, Boddhi Satva, Jeremiah Asiamah (BBC), The Pete Tong (BBC), Méle, Kid Fonque, Black Coffee, DJEFF, Kitty Amor, Enoo Napa, Fiona Kraft

Sondela Recordings returns with Sondela Selects Vol. 2, a special 12” showcasing four of the label’s most defining moments. From FKA Mash & Sio’s soulful ‘Bumblebee’ to Thakzin’s groundbreaking ‘The Magnificent Dance’, which birthed the global 3Step movement, this package is steeped in history. Henrik Schwarz’s remix of Mike Steva & Stevo Atambire’s ‘Destiny Song’ and Sammi Ferrer & Chaleee’s peak-time cut ‘Champagne’ round off a collection that cements Sondela’s role in shaping Afro-inspired electronic music.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

US IMPORT** **COMES WITH DOWNLOAD CODE inc EXTRA track** LIMITED COPIES available....

SK delivering an ace cover of a sublime rock obscurity backed with a dubbed out version from L.A. veteran, Secret Circuit. TIGHT.

" Suzanne Kraft covers Sugarcane's unforgettable soft-rock-meets-modern-soul ballad "What You Do To Me." Originally released as a limited 45 and featured on WDVE's first Pittsburgh Rocks compilation in 1980, and subsequently featured on the 'Soft Rock for Hard Times Vol. 2' Mix CD in 2014. Recorded and produced by Suzanne Kraft with a pitch perfect synthesizer solo by Jordan Czamanski (Jordan GCZ) - this version expertly matches the original song's private press essence with a full sound and dynamic arrangement that is recognizably Suzanne Kraft.

Secret Circuit delivers an extraordinarily heavy dub on the flip, launching Suzanne Kraft's cover forward with bass and drums under waves of delay and echo, bouncing the song towards the iconic synth solo which Secret Circuit sends into pure soundsystem bliss.

This is the debut release of the new Soft Rock For Hard Times imprint. "

Despite the thousands of kilometers between them, Monterrey and Medellín have always seemed to move in parallel. Both cities rise around guardian hills that watch over their people, and if you look closer, even the concrete that forms the backbone of each city traces back to these rugged metropolises.

The list of coincidences could go on—small, almost conspiratorial links that chance has woven between the two places. Adding another chapter to this unlikely connection is Regal86, who had already crossed the bridge once before to dive into the depths of Colombia’s “city of eternal spring.”

Doble Filo, his first full-length cut to vinyl, now becomes his latest calling card. The eighth release on Discos Nutabe’s catalog arrives with six tracks—six sharp-edged pieces that lay bare Regal86’s sonic marginality.

It’s a form of exclusion that isn’t imposed but chosen, a deliberate stance to sidestep the demand for exotica that still shapes much of Latin America’s electronic landscape. This is spicy, rough-edged techno—ruleless and unruly—driven by dense, clipped progressions that plunge you into a vortex masquerading as a rayado ritual.

There’s no overload of concept here, nor any caricature of the extravagant. This album simply delivers music built to tear through any club or dive, without false promises or unnecessary labels. If there’s one thing worth highlighting about Doble Filo as a whole, it’s the way it consistently—and almost implicitly—reasserts its core premise from start to finish: these techno tracks are meant to be played wherever the hell you want.

In a moment when oddities tend to be rewarded more than usual, Doble Filo doubles down on fundamentals, reclaiming the spirit of early electronic music and carrying it into an era where immediacy seems intent on blurring the honesty of those who shape the sound.

For Regal86, sonic hustle is the only thing that keeps his spirit steady.

Jorge Ben is someone who needs no introduction. Since his first hits in the early 60s, this the greatest icons of the greatest icons of Brazilian pop music. His anthems 'Mais Que Nada' or 'Pais Tropical' are among two of the most ever listened Brazilian songs of all time. Ben's self-titled 1969 album is a true samba-soul masterpiece from one of Brazil's most creative voices. This isn't your typical late-'60s LP: Jorge Ben blends the hypnotic swing of samba with funk, psychedelia, and sun-soaked soul in a way that feels both classic and ahead of its time. Released in November 1969, this was Jorge Ben's sixth studio record, and his first back with the Philips label after a creative hiatus. He recorded it with the tight-knit, percussive groove of Trio Mocoto -- whose rhythms lock in beautifully with Ben's laid-back guitar and vocals. On top of that, the album features lush orchestral arrangements from Jose Briamonte and Rogerio Duprat, adding a soaring, psychedelic dimension to Ben's sound. Standout tracks? You've got the joyous anthem 'Pais Tropical', a perfect celebration of Brazilian life.



Then there's 'Take It Easy My Brother Charles', a socially conscious number that tells the story of a rebellious sailor -- Ben weaves in themes of race, identity, and resilience. And songs like 'Que Pena' bring in that sweet, soulful melancholy, while breezy cuts like 'Criola', 'Domingas', and 'Barbarella' highlight his playful, poetic side. This record is a rare blend of genres -- samba, soul, funk, psychedelia -- and it's got a timeless energy. Whether you're already into Brazilian music or just looking for something fresh and soulful, Jorge Ben's 1969 album is a joyous entry point. Reissue on 180g vinyl.

High-definition world building collides with incisive physical urgency around 170 BPM as Pianeti Sintetici makes his first appearance on Samurai Music. Davide Perrone's vivid production style found a more downtempo outlet on last year's release for Samurai sub label Saibai, but he pivots naturally towards the weightier presence of the Exoverse with a richly rendered suite of sonic systems teeming with life and pockmarked with mystery. The spacious drums that lead on 'Agilus' have an acoustic, in-the-room quality that instantly grounds the track before the myriad layers of synthesis start spiralling skywards, pitting twinkling pads against rapid, undulating acid wielded with assured control. By way of contrast 'Mimoide' burrows downwards, using needlepoint marks to puncture the brooding beds of sound looming in the middle distance. At the same time, Perrone weaves lithe, rubbery shapes across the foreground of the mix for a three-dimensional expression you can almost reach out and touch. Opening up a B side tipped towards a mellower pace, 'Living Plasma' leans into a 4/4 meditation as a vessel for another distinctive tapestry of modulating sound design from Perrone's seemingly infinite sonic resources. 'Exoverse' edges towards a more melodic standpoint with its teased flutters of arpeggio that sneak in and out of the mix and a harmonic dimension to the atmospheric layers that shape out the size of the track. Across all four pieces, the sheer detail at play in the Pianeti Sintetici universe is mind-boggling. By rights it should be a busy, stress-inducing experience, but Perrone's gift lies in the ability to take a macro view on these incredibly complex creations, zooming out by boiling the parts down into a symbiotic whole that feels patient and considered. The reward for the listener comes from taking the time to zoom in and marvel at every micro detail writhing across the surface.

Experimental Deephouse Afro-futurism album by Dub poetry free spirit Jasmine Tutum, with production by OG Jahtari lads disrupt and Rootah as The Other Others, oscillating between spaced out soundscapes, floaty hoovers and heavy movers.

Tokyo-born, grown up in Jamaica and living in Germany (with various stops in-between) Jasmine’s wild biography translates into sonic territory with this LP, drawing inspiration from Grace Jones and Theo Parrish, newworldaquarium and Roger Robinson alike.d

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

Massimiliano Pagliara celebrates 20 years of music production with a special anniversary compilation on Funnuvojere. The release brings together solo productions and collaborations spanning a rich and abundant period that began when Pagliara acquired his first analogue machines, five years after moving to Berlin from Milan, where he worked as a professional dancer and choreographer.

The compilation features 20 previously unreleased tracks, deeply infused with italo grooves, wonky bass-lines, balearic pads, drama, love, sex, and dreams. These tracks evoke a wide spectrum of moments, ranging from intimate, pleasure-driven home listening to full-blown dance-floor euphoria. Throughout the compilation, one can feel Pagliara’s enthusiasm for discovery—his excitement in encountering new machines and immediately putting them to work.

Pagliara’s sonic identity is unmistakable, present in every track and in the compilation as a whole. Like the facets of a crystal, the music reflects his many nuances while maintaining a strong, coherent core. Tracks such as Waves of Desire pay homage to Dream House, reimagined through contemporary production with cosmic tones and infectious drums. Flicker Of Us reveals a dramatic tension between a rowdy bass-line and melancholic pads, while We Can Touch The Sky features Pagliara himself on vocals, blending synth-pop with elements of new wave and glam rock. Cool Breeze unfolds as a sunlit, optimistic walk through a wide Berlin avenue—funky, warm, and filled with curiosity for what lies ahead.

A notable strength of the compilation lies in its collaborations, which highlight Pagliara’s joy in working with other producers and vocalists. Each collaboration reveals a distinct character: the balearic sensibility of A Journey of Discovery with Gatto Fritto, the French house flavour of Neon Memories with Alinka, the 70s disco inflection of It’s In Your Eyes with the late Aérea Negrot, and the driving techno attitude of Whirlwind with Fabrizio Mammarella, to name just a few.

Ultimately, this compilation stands as both a gift to Massimiliano’s long-time fans and an open invitation to new listeners. It offers entry into a world shaped by beauty, order, balance, and ecstasy—guided by an enduring love for the craft.

Eight years after his last solo EP on NORD LTD, Shkedul makes a formidable return with four absolute dancefloor killers. This release does more than just fill a silence; it reasserts his position as a producer with a fiercely distinctive character and an unmistakable sonic signature.

Inner City Sound Archives returns with its second chapter — digging deeper into the forgotten vaults of New York’s underground disco culture.

This new volume brings to light another cache of mysterious acetate recordings: no titles, no credits, just cryptic handwriting, tape hiss, and the unmistakable pulse of a bygone era. Painstakingly transferred and fully remastered through analog processes, these raw and extended cuts preserve the full emotional weight of the original sessions — dusty, physical, and made to move bodies in the dark.

These are tracks that once passed hand-to-hand among a tight circle of selectors, whispered about and played just once or twice at legendary loft parties between 1978 and 1983. Then, silence. Until now. Once championed in the shadows by the likes of Larry Levan, Francis Grasso, Steve D’Acquisto, but also by more elusive selectors like Bobby Guttadaro, Michael Cappello, Roy Thode, and Mark Paul Simon — these grooves return to tell their story, the way they were meant to be heard. Each piece is a sonic time capsule — hypnotic, unpolished, and intimate. Pressed loud and with care, for those who still believe in the ritual of vinyl.

‘Yarrow’ is a bouquet of new music by Portland, Oregon-based musician and field recordist Patricia Wolf, marking the label’s ninth release and the third of Season Two. These works are her reflections on the life cycle of plants and their dynamic ecological relationships.

Wolf created the album in response to her artist residency at the Rocky Mountain Biological Laboratory in Gothic, Colorado, as part of the Art-Science Exchange Project in the summer of 2024. She worked closely with ecologists Dr Paul CaraDonna, Dr Amy Iler, Dr Jane Ogilvie, Dr Nickolas Waser, Dr Mary Price, and Dr Will Petry, spending weeks engaged in long-term research on plants, pollinators, and their interactions as the climate changes.

Each track on Yarrow looks at a different part of a plant’s life. The songs touch on the conditions that plants need to grow, the quiet life of roots, how flowers attract pollinators, and the strength of seeds. The first single, 'Inflorescence', the scientific name for the floral display that a plant makes in an effort to reproduce, captures this event in song. The music slowly builds layers, reflecting the album’s overall feel. The album ends with the majestic Boards of Canada-esque 'Adapted for Extreme Conditions', and the entire b-side features Patricia’s field recordings from around Gothic, Colorado, and a guided meditation by Dr Paul CaraDonna, whose research inspired the project, inviting listeners to tune into the sounds and activities of the ecosystem.