Поиск:never never

Heels & Souls Recordings roll into reissue number eight with a double dose of early '90s UK street soul magic, splitting the sides between two sought-after cuts from Elaine Vassell and 3rd Zone.

Step back to 1993, house music has hit, UK Soul is in full flow and its rawer, DIY street soul sibling is making its mark across the UK’s underground. Fuelled by accessible, affordable production gear and ignited through enthusiasm and an influx of ideas and sounds, two acts drew inspiration from a melting pot of genres they were exposed to, providing their take on soul as they saw it.

Up first, Elaine Vassell - ‘Never Give Up’. A rough breakbeat-driven, mid-tempo groover from a North West London production triple threat, made up of Longsy D, Pinky and Murray. Utilising Pinky’s home studio with its DX7, Juno 106, LinnDrum and 808, they masterminded a track that sits at the intersection between soulful house, hip hop and R&B. Its crunching drum loop, chest-rattling low-end and serene synth lines, lay the foundation for Elaine’s powerful yet emotive voice to take centre stage. ‘Never Give Up’ should have been a future classic, but never quite found its feet.

On the flip side another 1993 gem, as Sansel Ali and twin brothers Mark and Stephen Anglin joined forces to form 3rd Zone. Conceived in Mark’s makeshift bedroom studio, the trio laid down their first foray into recorded music, ‘You Stole My Heart’. Originally promoed as a limited whitelabel in 1991, it officially landed on the group's one and only EP ‘No Real Reason' in '93.

Armed with a handful of synth modules, a drum machine and a Korg M1, Mark, Stephen and Sansel hit with a tough but tender, underground triumph. Part dance, part romance, layering synth strings, chunky breaks and M1 stabs underneath Sansel’s heartstrung vocals and Stephen’s hip house rap interlude, it provides another perfect example of house seen through the street soul prism.

Two timeless tracks that fly the flag for the fact that big studios and big budgets aren't necessary to create songs that really resonate. Each side also contains an alternate version, with the A housing a beatless reprise of ‘Never Give Up’ and the B a tougher, bassier remix of ‘You Stole My Heart’.

Licensed from Pinky Music and 3rd Zone respectively and remastered from the original DATs by Justin Drake.

New tape from Gabber Eleganza's Never Sleep imprint.
This time its a live recording of Drum & Bass legend / Critical Sound boss Kasra at Fabric with MC's GQ and Mantmast.

The tape is in honour of Shaun Roberts, the sadly departed Fabric booker who was a pivotal figure in the UK's electronic scene. All proceeds go to Bowel Cancer UK

"Fabric played a huge role in shaping me as a music fan and years later became the London home for me and my label. This wouldn’t have happened without the help and support of Shaun Roberts, who left us far to soon in Dec of 2022 after an 18 month battle with colon cancer.

When the Never Sleep crew asked me to contribute to their mix series I knew id like to honour Shaun and help raise some money for Bowel Cancer UK.

Without Shaun and people like him taking chances on people like me the music landscape would look very different.

This is mix is taken from the Critical Sound 15th birthday event in 2017.

Hard hitting analog and Warehouse friendly Techno & Acid tracks from The Exaltics.

Midland returns after 4 years with his first solo record “Drift Into The Algorithm” taken from his forthcoming EP “You Never Take Me Dancing.” Following on from 2019’s “Alchemy of Circumstance” the EP consists of four tracks that represent the next chapter in his studio process.

INTOXTC is the first EP under Ash Luk's post Minimal Violence alias,Infinity Division. Like a phoenix rising, he continues his ascent through amelodic dystopia simultaneously channeling nostalgia and violence. No stranger to Never Sleep after our //ZOO release and playing live shows for the club night for many years. 'Visions' has ID howling over eerie pop lubed melodies, jungle breaks which all come together to form a new age in crossover music. Sounding like nobody else and completely blows the doors off the"Hyperpop" stigma associated with this kind of bravery. 'Thirteen' shows the club some trance fever dreams whilst 'Something Dreamy' breaks the whole fourth wall in its unashamed hands in the arrangement and palette. Leading the charge is 'T-INT' - a HUGE orchestral noise rhythmic workout and shows the sheer volume that this producer can materialise. Leftfield break up a mosh pit in NYC's CBGB and find Ian Curtis still dancing.

2023 Clear Vinyl Repress! nthng finally follows up his four stunning EPs with a full album proper, arriving in a whopping 3xLP pack.Arriving a good 6 months after the LT029.5 album sampler which debuted both Soms and In My Dreams, nthng adds another seven hazy, hooded techno bangers to those to make up a pretty dazzling body of work.Opener 'Touches' is true ambient bliss, with shrouded, blissful synths fuzzing into view and cut through by a soft low distant sunlight. Both Galaxy and Eternal thump into view with a hi-paced drums colliding and clashing with syncopated stabs and smooth dusty baselines, recalling the tender techno-trance precipice danced by Dutch producers at the start of the 90's. The huge mysterious fan favourite and title track It Never Ends gets it's pride of place with 9 mins of deep, cavernous techno, all rippling with epic string-synths and washes of mountainous reverb.Even deeper numbers are extracted from the hard-drive, including the pensively, digitally-bubbling computer jam Unity sitting tidily alongside the super deep and subtle rolls of Abyss. Rounding the album out is the appropriately-titled Last. A dark, shimmering, almost emotionless number that cements a different idea of the future. A hard, pounding, yelping, depth-charged technoid closer. For us, the album feels like a real masterpiece, conjuring a spectrum of intimate and emotive moods, feelings and nostalgia-tinged memories that float into the mind, like the settling fog in the valley on a crisp winters morning.

Freda Payne’s two-step classic rare groove “Tell Me Please” gets it’s long overdue first release on 7” single. Since first recorded and released in 1978 it has remained only as an album track from Freda’s “Supernatural High” LP that year. This Skip Scarborough composed song also featured on Expansion’s ‘Skip Scarborough Songbook’ but a 7” edition has never appeared before. It is accompanied by a Pam Sawyer/Marilyn McLeod song

“I Get High (On Your Memory)” produced by Tony Camillo. Originals of this on Capitol Records from 1977 exchange hands for small fortunes making both these songs on one 7” single an essential purchase. Both high quality definitive luxury soul.

A little mystery goes a long way, but it's fair to say the appetite for unearthing those secret tunes and lost classics has rarely been stronger...

A LOVE THAT NEVER DIES give us a peek inside their formidable archive with four wonderful pieces of coveted music, in very short supply in their original form

One super limited, clear vinyl pressing.

The first in a new collaborative series between Theo Parrish & Prime Direct Distribution unearthing some of Theo’s most sought-after edits, backed with the fully licensed original, both remastered and cut loud on either side of a 12 inch. Kicking things off we have one of Theo’s most treasured cuts, his ‘Ugly Edit’ of Made In USA - Never Gonna Let You Go, bootlegged endlessly in the past and racking up prices of up to £144 on Discogs it’s a high time an official reissue came around.

As iconic an edit as they get, ‘Never Gonna Let You Go’ encompasses everything great about Theo’s energy behind the decks - extending grooves for longer than anyone else even dare, working the EQ’s like a god and throwing in a bit of that raw magic that only he knows how. Taking the original’s sumptuous breakdown, Theo works it into a spirited, high energy disco workout looped into a near 10-minute stomper, big on the bass and brass fire whilst keeping the vocals to short and sweet snippets.

On the B side the original ’77 Made In USA version is laid out in all it’s glory. Funk powered, horn-laden disco goodness with breath-taking vocals from the Stateside troupe.

Daniel Lopatin, Sohn russicher US-Einwanderer, hat sich als Oneohtrix Point Never mit experimenteller Elektronik einen Namen als talentierter Komponist erarbeitet. Er veröffentlichte drei Alben auf Minilabels, arbeitete mit Antony Hegarty als Sänger und mit Animal Collective als Festivalhoster (ATP) zusammen und schrieb neben Brian Reitzell die Musik zu Sofia Coppolas jüngstem Film "The Bling Ring". Lopatins musikalisches Schaffen wird von Kritikern mit einem zerbrochenem Spiegel verglichen, in dem sich Klänge aus der Vergangenheit brechen. Auch auf seinem Warp-Debüt "R Plus Seven" blinkt seine Neigung zum Experimentellen immer hervor, zeitgleich wagt er sich so nah wie nie zuvor an traditionelle Songstrukturen heran, so dass die zehn neuen Tracks zu gleichen Teilen aufwühlerisch wie hypnotisch wirken.

Repress

The Men You'll Never See are back once again! Detroit In Effect's classic Unseen EP updated for 2019. Includes the Detroit Electrotechno anthem "R U Married".

For decades, Dan Penn’s mid 60s Muscle Shoals demos were the Holy Grail among southern soul fans, feted by the likes of Rick Hall and Jerry Wexler as being better than the hit versions. When they finally became accessible to all, 40-plus years after they were recorded, they turned out to be just as good as had been stated.

Further acclaim awaits the recent discovery by Soul-4-Real of two more demo masterpieces, written and performed by Dan and Spooner Oldham while working in Memphis at American Studio in 1967-68. The tape box shows who they were intended for, and it’s a real shame that James Carr never recorded either as both would have been perfect for him. At least we got to hear fine versions of “Cheaters Never Win” from Tony Borders and Bobby Boseman in due course. The lovely “I’m Believing In You” seems to exist only in the version you hear here.

New ‘old’ music from Dan is always worth hearing and having. These wonderful performances are no exception…

Written, rehearsed and recorded in Los Angeles during the collapse of the global order and the devaluation of American democracy, Songs You'll Never Hear portrays a self-destructive world in 8-lavishly produced songs Richly orchestrated arrangements contrast with the hauntingly desperate subject matter. While the world comes apart at the seams, Vanderwolf 's songwriting, production and vocals have never been so defiantly together.

Never Sleep charity tape series lands in the Athens on Spree for an era defying multi genre workout from 2005.

Prototype Reaktor methodologist Errorsmith blows the dub techno expectations away with a mix released on his website and limited CDR that aligns itself as much with early Jackmaster or Diplo sensibilities as much as it does "Ron Hardy - Live at the AKA" purist panache.

Recorded rapid fire Errorsmith sets the trends with liquid gold Dancehall, Jitterbug club, Grime and acidic Ragga.

Challenging any Traxsource ambassadorship, complex concordance for the Soulsee pundit. Covalent bonding tones with granular paced blends, mystical loop rearrangements, combilising genre metamorphosis and "DANCE ON THE KITCHEN TABLE" NRG. Errorsmith switches gears, sets the expectations high and flows like the river Fuldas on a summer's evening

A beautiful nano moment that allowed Berlin to breathe from a different musical atmosphere and dance to a less fixated rhythm.

All proceeds go to Médecins Sans Frontières (MSF) who provide humanitarian care in crisis situations across the globe.

Krystian Shek & Milly James return with Never Ending on Cinta Gara, and it feels like a natural next step after the beautiful impact they made with their standout Greyscale release, a record that firmly positioned them in the deeper, more immersive corner of dub-driven electronic music. With Never Ending, the duo continue to refine that signature feeling: warm, hypnotic, deeply musical, and full of emotion. This is music that moves with patience and confidence, rooted in dub house, but carried by a timeless house sensibility that makes it equally powerful at home, in the club, or in those early-morning moments when everything locks in.

An album that calls forth urgent desires, bold claims and the right to dream in the face of a reality that stifles hope.
Because Camp Claude never stands still, because the trio always wants more, it ignites with Diane's fire, Mike's freedom and Léo's conviction, and with NEVER SAY NEVER bets on 14 tracks that are electric, powerful and lightning-sharp.
Plural and perfectly eclectic, NEVER SAY NEVER inhabits an intangible musical and temporal space.
Like a mixtape, this new album reveals new sensations with every track, a prayer to be played on repeat, a kind of magic formula made of electro rhythms, retro synths and shoegaze guitars.

Niels Orens is an electronic producer and live performer working at the intersection of acoustic instrumentation and immersive electronic sound design, creating deeply textural compositions that prioritize atmosphere, space, and emotional weight overtraditional song structures. "Never Again EP" expands on the introspective tone of slow night/s, pushing further into rhythm and sonic detail while exploring themes of alienation, loneliness, and quiet internal violence.



After successful collaborations with Max Cooper, the new EP marks a pivotal moment in Orens' evolution. "Never Again EP" forms the foundation of a new live chapter currently unfolding across Europe, while signaling a deeper dive into experimentation, texture, and the evolving dialogue between acoustic sound and electronic manipulation.

BCUC – Bantu Continua Uhuru Consciousness – have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. From humble beginnings rehearsing in a shipping container, a stone's throw from the church where Desmond Tutu organized the escape of the most wanted anti-Apartheid activists, they kept believing in their dream of self-empowerment. Today they command festival stages worldwide: Glastonbury West Holts, Roskilde, Afropunk Brooklyn, WOMAD, Fusion, Sziget, FMM Sines, Beaches Brew, Boomtown, Colours of Ostrava, Couleur Café – to name just a few. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances.

THE ROAD IS NEVER EASY

The Road Is Never Easy is BCUC's fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica). BCUC's music is deeply rooted in history and echoes the voices of the ones who came before. The road was never easy for the people of Soweto who originally came to work in the mines of Egoli, the City of Gold, Johannesburg. When apartheid finally ended after a long struggle, it was hoped that life would improve. But more than 30 years later, many of those initial hopes and dreams are still waiting to be fulfilled. This album is about that struggle. The album contains 10 brand new songs – a record for BCUC, whose previous albums featured an average of 3 songs. It represents the culmination of more than two decades of performing together and building a reputation as a powerful live act. These ten songs encapsulate that same live energy, each one building gradually and drawing you into BCUC's Afro-psychedelic stream of consciousness. It's a seismic tour de force through life in Soweto today. Songs like Amakhandela (Breaking All the Chains) connect history to daily life: "How is this precious metal inflicting so much pain in us," sing BCUC, "this government has been telling us we are free, but we don't benefit from being free." The album also talks about all the hopes and dreams that remain: "I have too many wishes and dreams in my head," BCUC sing in Um duma khanda, "I think I am losing my mind". The album ends with the soothing Matla a rona ke Bophelo, "our strength is life", praising the spirits and thanking the elders for protection. The Road Is Never Easy is about the harsh reality of life in Soweto, where "people always carry heavy loads". BCUC are street poets trying to deal with that burden: sometimes revolutionary, sometimes soothing, but always hopeful and compassionate. "When you are from Soweto you can't retreat nor surrender." (Sebenzela)

RECORDING

The album was largely recorded in Munich, Germany during tour breaks over two sessions, each three days long. It took place in a small studio located in a German WW II bunker converted into rehearsal spaces. The songs were recorded in one take altogether in one room, with only a few overdubs added, mainly backing vocals, by BCUC at Fourways studio in Johannesburg. BCUC have created their own distinctive way of writing, or rather, finding and creating their songs. The recording process is like an improvised live performance. They bring their ideas into a zone where the music, the rhythm and the spirits take over until the song starts to form. In this Afro-psychedelic zone BCUC create their unique poetry that feeds on the dreams still dreamt, the hopes, the fears and the temptations lingering everywhere. BCUC's songs need to breathe and time to build. The right take was the one when the song took over, and just like their live performances, no one knew beforehand where the song would take them. During the recording, BCUC just let it all flow out: inner turmoil, cries of rebellion, but also resilience and a search for healing, love, unity and compassion. You don't have to be from Soweto to feel the deep meaning and impact of this music. In these times of so much hate and division, BCUC are like a campfire for people to gather around.

PRODUCTION & ARTWORK

"BCUC have a unique magic," says Outhere's Jay Rutledge, who produced the album. "It blew our minds. It's like punk and pure gospel at the same time. Their music can make you dance and it can make you cry, all at the same time. And when the song is over, you feel you're not alone in this world anymore. We felt compelled to do this." The album cover is based on a matchbox design, matches being a common household item in South Africa even today. "These were the matches people used to burn government buildings and cars," explain BCUC. Little messages, addresses, or phone numbers used to be scribbled on the back of these boxes; each one a reminder of the strength, resilience, and resistance that once drove the struggle for freedom in Soweto. BCUC keep this flame burning. The Road Is Never Easy is a heavy spiritual road trip, a deep dive into the subconscious of Soweto and a quest for truth, justice and sanity in this crazy world. BCUC tackle the harsh realities of the voiceless, guided by the spirit world of their ancestors. Rather than reinforcing stereotypes of poverty, BCUC's portrayal of Africa is one rich in tradition, rituals and beliefs. "We bring fun and Afro-psychedelic fire from the hood," says vocalist Kgomotso Mokone.

2026 Repress!

(Long awaited 2026 repress, Black vinyl) While the original, 2013 version of Robert and Lyric Hood's bittersweet banger had already managed to leave tear stains on dancefloors across the globe, the 2014-released “Re-Plant” of 'Never Grow Old' has undeniably lived up to its name. As likely to be rolled out by Carl Cox as Ricardo Villalobos, 'Never Grow Old''s quickening synth stabs and piercing symbols wrap tenderly around a heart-wrenching vocal to make up a track that is both poignant and euphoric. It's the ultimate crying in the club track, the cheat code to getting crowds to embrace each other, and the track you'll probably want to ring your loved ones to tell them about, all wrapped into one.

BCUC (Bantu Continua Uhuru Consciousness) have been channeling the spirit of Soweto for over twenty years. Indigenous funk, hip-hop consciousness, and punk rock energy fused into something utterly original and deeply rooted. Their mantra: Music for the people, by the people, with the people. In 2023, BCUC were honoured with the prestigious WOMEX Artist Award, an accolade usually reserved for more established artists, in recognition of their fearless work and transcendent live performances. The Road Is Never Easy is BCUC"s fifth album and their debut on Outhere Records. On this new offering, BCUC take listeners on another Afro-psychedelic journey into the soul of Soweto. It feels like a gospel sermon colliding with a punk concert, "guaranteed to touch untapped corners of your soul" (OkayAfrica).

2026 Repress

Been wanting to release Murder Most Foul on 3AM Eternal since hearing his amazing EP on Soundcrumpet. He delivered 2 amazing tunes "Dogfish" has his expertly blend of rare groove and hardcore ragga jungle. Raw but oh so smooooth. "Cosmic Love Birds" is something else, otherworldly vibes with an insane amen workout equals 100% fire!

FFF returns with "Never In A million Years" which brings, rare groove, soundclash amen choppage in known FFF fashion, You can't stop the drum and you can't stop the bass!! "Hustlers pt 2" Brings manic filtered amen workout with rare groove clash vibes. Hustlers of life, never survive!

Following our well received "Prince Philip Presents..." 2LP compilation, here's a lovely overview of the second phase of Philip's career, as engineer & producer at his own studio, HC&F. These ten tracks comprise our favorites from his production catalog, spanning the mid '80s when the studio really got going, right up until 1996 and his last set of proper productions. The album holds a mix of well known classics like the Garnett Silk, lesser known album only cuts like the Frankie Paul, NY dancehall 12" staples like the Scion Success or Shelene, as well as some lesser known gems. We'd be remiss in not mentioning that this album also contains two previously unreleased cuts - a wicked mid '80s Tony Tuff, and the wild vocoder laden 1985 theme song for Philip's "Get Smart" radio show, which ran for many many years on New York University's WNYU radio station.

Their debut album, Why Trains Crash was released in June of that year to rave reviews. In 2023 they released their follow-up LP, A Company Sleeve, solidifying their reputation with critics and fans alike for all- killer/ no- filler indie rock. Their third LP, Never Felt Bitter, will be released on March 27, 2026. The music on Never Felt Bitter -- the quartet's first release for Chicago- based Forge Again Records--is the result of playing together on hundreds of nights in innumerable bars and clubs across Southern California and beyond. Over the years the band has honed a fearsome melding of pop melodicism and raw physicality. Their knack for crafting catchy anthems for outsiders and underdogs has made them one of the most respected underground bands in L.A.

After traveling through Mexico, Miami, the Bahamas, and New Orleans, Nishioka recorded his fourth album South American Journey in Los Angeles,
released in 1979. From this album, two of his most celebrated tracks—“GYPSY SONG”, a fan favorite with numerous cover versions, and “NEVER LAND”,
featuring the distinctive sound of steel pans and a Japanese reggae vibe are now being pressed on 7-inch vinyl for the first time in a limited edition!

The recording features members of the So What Review band, including Junshi Yamagishi (guitar) and Osamu Ishida (guitar), along with renowned steel pan
player Robert Greenidge, known for collaborations with Van Dyke Parks and Taj Mahal.
(FLATT THE LAIDBACK)

Kyozo Nishioka Profile
(Born May 7, 1948 – Died April 3, 1999)
Singer songwriter from the Shima Peninsula in Mie Prefecture, affectionately nicknamed “Zo-san”.
After enrolling at Kinki University and moving to Osaka, Nishioka became a regular at the folk cafe Dylan in Namba, opened in August 1969 by Masaji Otsuka
and Yoko Ishimura. Dylan was a gathering spot for folk music enthusiasts from all over Japan.
Nishioka formed the folk group The Dylan with Masaji Otsuka and You Nagai, performing at folk camps and the Nakatsugawa Folk Jamboree. In 1971, Nishioka
left the group, and Otsuka and Nagai continued as The Dylan II. Nishioka wrote and composed the song “Puka Puka” under the pen name Zokyozo, which became
one of his signature works. The song was first released in July 1971 as the B-side of The Dylan II’s single “Otoko rashii tte Wakarukai” on URC Records.
Nishioka began his solo career, releasing his debut album “Dylan nite” in July 1972, produced by Kinji Yoshino on Bellwood Records, which included his own
version of “Puka Puka”. In September 1973, he appeared at the farewell concert of Happy End titled CITY – LAST TIME AROUND at Bunkyo Public Hall in Tokyo.
His 1974 album “Machiyuki Murayuki” was produced by Haruomi Hosono, and his 1975 album “Rokka My Baby” featured support from Shigeru Suzuki’s band
HUCKLE BACK. Nishioka recorded three albums under Hosono’s production, deepening their friendship.
Together with his wife and lyricist KURO, Nishioka wrote songs for artists such as Eikichi Yazawa. The couple traveled the world, recording overseas albums such
as “Nanbei Ryoko” (1977), “Yoh-Sollo” (1979), and “New York to Jamaica” (1981), incorporating reggae, calypso, and other global sounds. In the 1980s, he released
works under the duo name KYOZO & BUN with Yoshifumi Okajima, and in the 1990s returned to solo projects with albums like “START” (1993) and “Farewell
Song” (1997).
After KURO’s passing in 1997, Nishioka continued his musical activities until his own death in 1999 at the age of 50. His music transcended the boundaries of folk,
blending jazz and tropical elements to create a unique world view, leaving an indelible mark on Japanese music history.

After laying low in the burroughs for a few years the NY Stomp is back! Reconnecting with the raw, driving spirit of classic New York house, the project delivers a heavyweight, floor-focused EP. Each cut captures the kind of club energy that once shook iconic early-'90s institutions like The Tunnel, Twilo, and Sound Factory. This is unapologetic, no-frills house music made for serious systems and peak-time moments.

Never Sleep charity tape series ends up in Thornton Heath, London for the grimiest of bedroom work outs.

Early Fruity Loops philosopher Plasticman aka Plastician teams up with fellow trailblazers DJ Suicide & N Double A crew for a prompt internet radio set of prototype Grime. Rugged, raw and filled with the occasional KAOS Pad trigger / gunfinger FX; the devilish miscreants bring the lyrical vehemence.

Broadcasting from his parents place and utilising early productions Plasticman keeps the fibre optical momentum burning with early production, laser precision polyphonic instrumentals and quantified eski.

N Double A crew have so many quotables but its a "pass the mic" affair as limited equipment fort his bedroom bedlam. L Man spits certified gold on demand whilst Narstie echoes his signature cadence, Typah goes in hard with the colder than waiting in a queue outside Plastic People flow and Uzi destroys the stream with typical flair.

A landmark moment in innovation, internet radio was a key player in the growth of Grime and Dubstep. Helping build profile, connections and galvanize the online community.

"Tranquilizer is, Ambience by force" - Oneohtrix Point Never

"Tranquilizer" klingt nicht nach Beruhigung, sondern nach Wiederauftauchen. Daniel Lopatin verurteilt nicht unser Bedürfnis nach Flucht, sondern erkundet vielmehr, was danach passiert. Sein neues Album zeichnet eine Bewegung von schwereloser Ruhe hin zu etwas Bodenständigerem nach – keine Heldenreise, sondern der notwendige Kreislauf von Rückzug und Rückkehr, der uns in einer ebenso überwältigenden wie banalen Welt den Verstand bewahrt.

Wir stürzen aus der triefenden Glückseligkeit von "Lifeworld" in die traurige Melancholie von "Cherry Blue" und die spastischen Grooves von "Rodl Glide". Wie immer bei OPN kollidiert das Reale mit dem Unwirklichen. Wer genau hinhört, hört das Kratzen von Fingern auf einem Griffbrett, einen Stein, der über einen Kerkerboden gleitet, das Quietschen einer sich öffnenden Tür. Lopatins Musik war nie ein abstraktes Farbfeld; sie hat Gewicht, Kanten, Schatten. Während "R Plus Seven" nur aus kristallinen Arpeggiatoren bestand und "Garden Of Delete" ein fieberhaftes Erbrechen gurgelnder Synthesizer war, fühlt sich "Tranquilizer" an, als würde man aus einem Traum fallen, den man noch berühren kann.

Celebrating their 40th anniversary in 2025, Japan's ska scene pioneers The SKA FLAMES － still going strong and continuing to exert a huge influenceboth

domestically and internationally － will release five 7-inch singles over three consecutive months!! First release features two titles simultaneously!
This release includes “I WON'T NEVER LET YOU GO” left behind by BLUES BUSTERS and a self-cover of The SKA FLAMES' classic early track
“GOOD MORNING” recorded with Daisuke Ono on drums!"

Never Sleep charity tape series focuses on London's pirate radio momentous rise with a true pioneer.

Femme enterpriser DJ Rap holistifies futurism with a cacophony of Ragga, Hardcore and Transatlantic soundscapes. A bass propagation filled with landmark pointillism, matriarchal musicianship and acidic House.

Soundclashing all machismo in sight, rugged mercurial stripped back bedlam for the peak time listener. Complexificating with hypnotic FX, "WHERES THE RAVE" signalling, flawless magnetica and hyperbolic genre splicing. Rap brings the "mood", hybrid soundsystem lashing and method only she fully enablises.

Literally sleeping inside and DJing on Fantasy FM from the age of 16 (you can hear her doing the ads at the start), this mix showcases an incredible time for the burgeoning sounds of the new millenia and the rise of pirate radio across London.

DJ Rap recently released her 6th studio album and is well known for her charity work and love of club culture. A female pioneer in the UK music industry and a long lasting staple in the Electronic history lexicon.

All proceeds go to Four Paws who help Animal Welfare across the UK