Поиск:one system

Стили
Все
Mad Rey - nomad

Mad Rey

nomad

12inchYYKMADREY01
Yoyaku
15.05.2026

Mad Rey is a Paris-based producer and DJ whose universe moves freely between warm house, raw electronic textures, and influences drawn from the international club scene. First emerging through the D.Ko Records collective and label—one of the key forces behind the French house revival of the 2010s—he quickly developed a sensitive and organic signature, blending analog groove, evocative melodies, and a deep dancefloor energy. His notable releases on D.Ko, followed by projects with labels such as Red Lebanese and Ed Banger Records, reflect a singular trajectory at the crossroads of France’s most influential underground and electronic scenes.

Constantly evolving, Mad Rey is now opening a new chapter in his journey. An upcoming EP on Yoyaku affirms a more club-focused and percussive direction, while new productions leaning toward tech house outline a sharper sound designed for powerful systems and late-night dancefloors. This evolution comes with a clear ambition: to carry his music beyond French borders and expand his presence on the international stage.

Balancing production precision, DJ instinct, and an ongoing search for renewal, Mad Rey continues to shape a distinctive artistic world—rooted in the present yet firmly oriented toward the future of the dancefloor.

Сделать предзаказ15.05.2026

он должен быть опубликован на 15.05.2026

VARIOUS - XTRICTLY ELEKTRO VOL. 5 EP

The fifth transmission in the XTRICTLY ELEKTRO series connects the past and future of the genre in one powerful statement.

Side A channels the sharp, forward-driven pulse of the new school — EC13, Elektrotechnik, and Parand deliver cutting-edge vibes built for the modern floor. Side B pays tribute to the roots with Calagad 13, DJ Overdose, and Motorobot — a legendary alliance between Bass Junkie and Dynamik Bass System, returning for only their second-ever collaboration.

A bridge between eras: classic heritage meets futuristic sound design — timeless, synthetic, and deeply interconnected.

Limited edition of 150 copies.

В наличии на складе

Есть у нас в наличии и готов к отправке

THE TRUE UNDERGROUND SOUND OF ROME - THE TRUE UNDERGROUND SOUND OF ROME

Double 12" release

The Story — From the Streets of Rome to the Male Productions Label
In the early 1990s, Rome lived in a kind of suspended moment. The city was still tied to its historic clubs, yet in the outskirts—inside abandoned warehouses, quarries along the coastline, and the wooded parks north of the capital—something new was beginning to stir. A nocturnal, constantly shifting movement fuelled by a hunger for freedom and a sonic curiosity that reached far beyond the mainstream.

Moving through this ferment was Francesco “Chicco” Furlotti. First an organizer of unconventional parties and underground nights, he soon became one of the driving forces behind Rome’s itinerant rave scene. Furlotti sensed that a wave of change was about to sweep across the city. It wasn’t just about parties: it was the rise of a culture, a new way of thinking about music, community, and belonging.

It was within those nights—later held with official permits, properly built sound systems, and an ever-growing crowd—that Furlotti recognized the existence of a distinctly Roman sound, and the need to capture it, preserve it, and give it tangible form.
So, in 1991, he decided to take a bolder step: to found an independent record label—small, determined, and far removed from the commercial logic that dominated at the time.
That was the birth of Male Productions.

Male was not a label like any other: it was a workshop, a gathering point, a creative hub where DJs, producers, friends, and wanderers converged. Within that environment, an artistic core took shape—Stefano Di Carlo, Leo Young, and Mauro Tannino, along with other collaborators orbiting around Furlotti. From their synergy emerged a project whose very name declared its mission:

The True Underground Sound of Rome.

The collective did not simply aim to release music; it sought to tell a story of Rome through sounds that defied categorization: house, techno, ambient, electronic mysticism, psychedelic visions… a unique blend, instantly recognizable, emotional, and experimental. The sessions unfolded using essential yet razor-sharp gear: Roland drum machines, analogue synthesizers, Akai samplers, stripped-down mixers. Few tools, endless imagination.
The first result of this work was the 12” Secret Doctrine, released in 1991 in an extremely limited run—around 500 promotional copies, according to accounts. The record captured something that until then had floated only in the air of Roman raves: enveloping atmospheres, deep rhythms, melodies built to make the mind travel far beyond the dancefloor. A sound that did not imitate what was happening in Detroit, London, or Berlin, but absorbed those influences and re-sculpted them with a distinctly Roman sensibility.
Yet, precisely because it was independent and detached from commercial circuits, Male’s output remained sparse: few EPs, few copies, irregular distribution. Over time, those records became rare artifacts—almost mythical objects within the Italian electronic scene. The legacy of Male Productions seemed destined to survive only in the memories of those early years, in the stories told after raves, and in the private archives of a handful of collectors.
Many years later, thanks to the almost accidental rediscovery of a few original copies of the first two releases issued by Male Productions, it became possible to undertake a meticulous process of recovery and restoration of the audio etched into those grooves, with the aim of preserving as fully as possible the quality and character of that unrepeatable sound.

We are therefore able today to present — at last in a complete and faithful form — the first two mixes created for Male Productions, now released on a double vinyl that brings back into the present the exact moment when it all began: the nomadic nights of the raves, Furlotti’s vision, the creativity of Di Carlo, Young and Tannino, and the sonic identity of a Rome in the midst of transformation.

This is not merely a reissue.
It is a historical document.
A fragment of a culture that changed the city.
The authentic sound of the Roman underground, finally returned to the world.

В наличии на складе

Есть у нас в наличии и готов к отправке

Obeka - A World No More LP

Obeka

A World No More LP

12inchYUKU048
YUKU
04.05.2026

"After being praised as one of the best releases of 2025 by multiple platforms, the highly praised debut album from Obeka lands on vinyl via YUKU.

The rhythmic dynamics and emotive attitudes of A World No More captures the density of soundsystem culture in Obeka's ancestral roots. YUKU presents the Bermudians debut album capturing a Neo-Colonial dystopia, protest and Afro-Futurism hyperextended through decaying sonic structures of a dark past and its grievances which very much exist today.

Growing into adulthood within the walls of British and European Colonial systems meant the disconnection and lostness in a new country hid me from the world at a young age. Unlike London's vast and culturally engaging migrant communities, the industrial milling town of Stockport introduced a coldness towards people from other countries I experienced in my first year after relocating from Bermuda. I couldn't understand why. Whether cold words thrown towards me or actions upon other people who look like me, it has shown to be a dooming societal virus with no cure. The most comfort was found through what was familiar - drums and rhythmic spirituality of my homeland. It was a safe-haven, a place to empty the anger and confusion. It's been 15 years since relocating and as my sound evolved, it seems classism, racism, oppression and civil control of ethnic peoples has become worse - even now more legalised and normalised. Ogun (a powerful Yoruba deity associated with anger, justice and war) acts as the opening sequence of the record and its symbolism. Using distorted bass frequencies and dissected Regga-Dub immersed in live-sampled ghostly voices of the lost ones. This sonic exercising is also applied in Drillaman - a stampede of industrial framework and metallic instruments wielded over moody Dancehall MC'ing, magnifying two parallel worlds in cocooned evolution. The resurrection of Transatlantic African cultures and identity have never been silenced, rather carried elsewhere through trade routes of enslavement, which was pivotal when composing and completing the album upon returning home to the Caribbean for the first time ever. After reconnecting with my heritage my blurred vision of what's wrong in the world became so clear. Guidance in empty plains seek truth throughout the pain - A statement of finding oneself expressed on the poetic closing track A World No More.

On Fawohodie (A West African Adinkra symbol that represents independence, freedom, and emancipation stamped on the album cover) the motive and atmosphere begins to change. Afro-Caribbean idealism which refers to the philosophical concept that emphasizes the interconnectedness of individuals and the importance of community, often contrasting with Western individualism, begins to take shape in a new universe. We can co-exist. The track framework uses machine-led software forming frequencies we have no control over, then manipulated through decomposing soundscapes, scattered hand-drums and human-made weapons of control - exposing the hidden disparity that's been carried over generations whilst balancing hopeful and musical foundations towards equality and peace. On Pressure and Kuduro! the writing direction attempts to wake people up. Not settling for a composed approach like in past projects, quite the opposite. A call for native sonic awareness, dismantled vocals of protests, eroded percussion using chains, gears and motorised harmonies sculpted in challenging abstract behaviors far outside my comfort zone. A direct abrasiveness and weight I want people to feel, whilst finding hope and solace through enchanting choirs and hypnotic basslines in complete synchrony.

"Purity in sound manifests when you least expect it. The smallest memory or feeling grows from a seed into a sonic language that you, and only you can interpret and release back into the world." "

В наличии на складе

Есть у нас в наличии и готов к отправке

Harry Mudie meet King Tubby's - In Dub Conference Volume One LP
  • Full Dose Of Dub
  • Madhouse Dub
  • Dub For The Dread
  • Dub With A Difference
  • Caught You Dubbing
  • Roman Dub
  • Dub Conference
  • Heavy Duty Dub
  • Strip Tease Dub
  • String Dub In Rema

After running a sound system and studying electronics overseas, Spanish Town-based Harry Mudie began releasing rhythm and blues recordings by local performers, enjoying more concerted success during the reggae era of the late 1960s and mid-1970s, crafting lasting hits with artists like Dennis Walks and the Spanish Town-based toaster I Roy.

The first volume of the Dub Conference series, made with King Tubby, has stripped-down cuts of some of Mudie’s greatest productions, including ‘Lorna’s Dance,’ a percussion and horns take of ‘Caught You In A Lie’, and a strings cut of the Heptones’ ‘Love Without Feeling.’

Сделать предзаказ18.05.2026

он должен быть опубликован на 18.05.2026

Martina Bertoni - Electroacoustic Works for Halldorophone LP 2x12"

For her new and most radical album »Electroacoustic Works for Halldorophone«, Martina Bertoni used the electronic instrument at EMS Stockholm to create four pieces that are massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming—almost ambient and always demanding your full attention.

Martina Bertoni returns to Karlrecords with »Electroacoustic Works for Halldorophone,« her most radical album yet. The foundation for the four electroacoustic pieces was laid during a residency at Stockholm’s legendary Elektronmusikstudion (EMS) that the Berlin-based cellist and composer used to explore the curious instrument, originally designed by Halldór Úlfarsson in 2008, as an algorithmic system in order to examine tunings and the mathematical relationships between Aiming to analyse and understand their interaction beyond the composer’s control, Bertoni sought to engage more deeply with the concepts of time, tuning, and, most importantly, control. Accordingly, her four »Electroacoustic Works for Halldorophone« seem both massive in scale and incredibly intimate, sonically restrained and emotionally overwhelming— almost ambient and always demanding your full attention.

While the halldorophone—famously used by Hildur Guðnadóttir for her »Joker« score—roughly resembles a cello and can be played like one, it is an electronic instrument. The vibration of its strings is being picked up, amplified, and then routed through a speaker. This creates a feedback loop that becomes increasingly complex depending on how much gain is added to individual strings. Úlfarsson gave Bertoni a carte blanche for how to handle the instrument, but she stresses that she relied on »minimal interventions—some string strumming and plucking« that set the interactions of different sounds and frequencies into motion. »I decided to not approach it like a cellist would,« she explains. »Instead I used it as a kind of generative organ by turning it into a feedback machine, with tuned feedback triggering more feedback depending on the tuning, which was based on tetraphonic scales that I could apply on the four main strings as well as the sympathetic group of strings.«

Bertoni recorded the material in the EMS studio, later composing and arranging the four complex pieces in her home in Berlin, after which they were mixed and mastered by Ciaran O’Shea. While this can be considered a compositional abstraction process, traces of her concrete work as a performer are firmly ingrained in the music. »The halldorophone doesn’t have a line output, just a double set of speakers, which is why I recorded all sounds with two microphones in the EMS studio,« she explains. »That’s why there’s plenty of breathing sounds here and there—label owner Thomas Herbst and I jokingly refer to the album as my ›chamber music record‹.« And indeed, there is a striking sense of intimacy to these four pieces throughout which individual sounds, harmonic frequencies, and even subtle rhythmic figures seem to move both on their own accord but also according to a underlying vision that steers their interplay.

Indeed, »Electroacoustic Works for Halldorophone« is an album built on and marked by contrasts. The soothing polylogue of single sounds in the higher register on opener »Omen in G« is counterpointed by massive bass drones, while the second piece, »Nominal in D,« plays a cunning game of repetition and difference by combining thick textures with all kinds of rhythmic elements. »Fades in C«—the longest of the four pieces, clocking in at 17 minutes—unlocks the emotional potentials of the sonic qualities of the halldorophone, sounding at once serene and anthemic, and »Organon in D« closes the album by underscoring how Bertoni’s unconventional approach allows her to seamlessly transform simple, quiet tones into complex, towering walls of sound.

Сделать предзаказ18.05.2026

он должен быть опубликован на 18.05.2026

Remy Solar - Dubs From Earth (Tape)
 
2
также имеющийся в продаже

SS01


Siren Selector launches its mixtape series with a companion release to Remy Solar’s - ‘Heavy Terrain’ cassette.

“Jamaican music grows in rings like an old tree. From a core of early riddims, the genius of Studio One, versions of original basslines and melodies evolve over time New releases of the same tune follow each other through the 70s, 80s, 90s, into this millennium. Generations of the same family. And then there’s the unreleased versions, the frontier dubs built strictly for sound systems, held close by those who got them and only gradually circulated into the wider audience of selectors and collectors. These are the ones where the bass is heavier, the echoes more mind- bending, the effects wilder and the drums harder. Older sound followers tell stories of how these dubs defined dances, flattened opponents in clashes, inspired a dozen rewinds. Younger followers remember these tales and pass them down. These dubs are folklore.

Who knows how many such versions there are in the vast worldwide archives of Jamaican music? Not me. But as a little taster of a lifetime’s musical journey you can open your ears right now to a few moments: Lacksley’s Castell’s “Unkind”, transported from the sprightly riddim which underpinned it on his Princess Lady album and reengineered into a thunderous version of Ras Michael’s None A Jah Jah Children; “Deceivers” by the Heptones, stripped back into something simultaneously ethereal and bathyspheric; Keith Hudson’s “I’m No Fool” emerging from a pressure cooker of bass and drum; Jah Lloyd’s “Black Moses”, busting down walls with its epic echo and siren opening.

I started collecting these dubs in the late 90s. We were going to Shaka at the Rocket, Aba Shanti in the Arches, then Imperial Gardens. Entebbe somewhere off Mare Street. Iration Steppas in Kingsland Road, Jah Tubby’s in the Rec. We were doing our own parties at the time in east London, Bohemia Place, then Trenz, Dungeons, the old social services office by London Fields. Building up a sound, taking it on the road, crew sitting on the speaker boxes in the back of a Mercedes 508. Under the stars or in warehouses with sweat dripping from the ceiling, lugging crates and amps across fields or up flights of stairs, stringing up boxes under bridges, in car parks or on roundabouts. Waiting for the moment to drop the dubs.

This tape is dedicated to my crew and all the music providers and anyone who also knew or wants to know these moments.“

Fifty Physical Copies - 60 mins - No digital

Сделать предзаказ18.05.2026

он должен быть опубликован на 18.05.2026

Various - Systematic Gent EP

Systematic Gent EP brings together four distinctive cuts from artists who each embody a different shade of the label’s sound. For this special various-artists release, Ghent-based Maxim Lany delivers the deep, driving, atmospheric and immersive “Noise”; Dimitri Andreas adds rhythmic drive and tribal energy with “Jungle Circus”; Robert Babicz contributes the hypnotic, progressive and emotive “Soul Traveler”; and Drumcomplex & Frank Sonic round out the EP with the powerful, forward-moving techno gem “Solar.”
Released on 12” vinyl, Systematic Gent EP arrives in perfect sync with the label’s showcase at Wintercircus in Gent on May 8, 2026, creating a direct link between the music on wax and the energy of the dancefloor. With a tracklist that balances atmosphere, groove and peak-time impact, the EP captures the essence of Systematic’s sonic identity while celebrating a special night in one of Belgium’s most exciting cultural spaces.
Marc Romboy, A&R of Systematic, says: “I’m very glad to present this EP, showcasing the different shades of music Systematic currently stands for. Each track could be an A-side on its own. The vinyl will be released on the day of our label showcase at the local record store GENX Recordstore in the city centre, as well as via our distributor, Word and Sound.”

Сделать предзаказ22.05.2026

он должен быть опубликован на 22.05.2026


Последний логин: 3 дн. назад
Benge - Polyrythmic Electronica

Benge is the influential electronica artist who launched the Expanding Records label in 1995. Polyrythmic Electronica is one of the underrated gems from Benge's discography, opening the series of re-issues from digital to vinyl on the new System Of Objects imprint.

В наличии на складе

Есть у нас в наличии и готов к отправке

Planetary Assault Systems - Planetary People 3x12"
  • A1: Into The Night 4:07
  • A2: Labyrinth 5:32
  • B1: Quadrant 10 5:40
  • B2: Sermon Of The Light Tides 6:23
  • C1: Brave Cosmo 5:50
  • C2: Retina Burn 6:07
  • D1: Thunder Major 5:55
  • D2: Beton Brut 5:37
  • E1: No Ninja 6:02
  • E2: Ha Jam 4:44
  • F1: Lynx 7:25
  • F2: Generation Slip 5:21

“One of Berghain’s longest-serving residents, Luke Slater has been defining bleepy, polyrhythmic, industrial-strength techno as Planetary Assault Systems since the mid-nineties. P.A.S albums tend to come together in their own time:

“External signals and signs combine until the recipe feels right, both musically and from being ‘out there’,” Slater adds. “10 years since I released Arc Angel on Ostgut Ton, and it’s a fitting pleasure to combine live show ideas and studio work for the new album, served up with raw energy” That patience runs through his whole Ostgut catalogue; since Temporary Suspension brought its machine-tooled weight and alien feeling to the label in 2009, each P.A.S. release on Ostgut Ton has been its own quest for discovery, from The Messenger’s search for sounds not yet present in club music to Arc Angel’s focus on melody to the deep hypnosis of Plantae.

His new album, Planetary People has the deliberate imagination and depth of a record that took its time, shaped as much by live rooms and crowds as by the studio.

“Into The Night” creates a haunting, dystopic environment of corroded acid saturated in echo, absorbing from the first second. “Labyrinth” breaks into buoyant tribal percussion, modulated chirps trading off over propulsive drums. “Quadrant 10” is clean, delay-drenched techno, buzzing with noise splatters over saturated thuds. “Sermon Of The Light Tides” scrambles metallic bell sequences that distort and evolve throughout, reminiscent of a dial-up modem crossed with a game of Frogger, squelching between percussive bursts and stripped-back kicks. “Brave Cosmo” is tormentingly menacing, eerie synths panning around buried vocal fragments over frantic percussion. “Retina Burn” rolls on fierce, cement-mixer 909 cycles, rave stabs over a ride that locks you in, the whole track stuttering and repeating before stripping back to a bare echoing kick and building itself again. “Thunder Major” barrels on open hats and reverb-drenched claps ricocheting through twisting wreaths of delay, mesmeric and relentless. “Beton Brut” marches juggernaut percussion stamping through hall reverb so vast you can visualise the room, the darkest and most unrelenting track on the record. “No Ninja” crunches in metallic and immediate, a wiry plucked lead threading through glitch with the bass held low and deep, mixed so precisely you can see every layer stacked in your mind’s eye. “Ha Jam” is danceable techno with plenty of funk and a sophisticated looseness, a vocal laugh bouncing off clanging metal blocks and rave stabs. “Lynx” lowpasses its rave stabs and crystalline beeps, chirpy hats ticking, cold metal repeats, old school and mesmeric. “Generation Slip” closes everything out, ominous and churning, skittering percussion and electrical sparks rattling through steel, a freight train barrelling on into oblivion.

Сделать предзаказ22.05.2026

он должен быть опубликован на 22.05.2026

XDCVR - I HATE THAT SHIT, I HATE ALL THAT SHIT (Tape)
  • 01: Just Because You Don&Apos;T Believe That I Want To Dance, Don&Apos;T Mean That I Don&Apos;T Want To
  • 02: Psalm 68 (22-35)
  • 03: Cyber Feminism Index
  • 04: Faithful And True
  • 05: Crimes Of The Future
  • 06: Rider On The White Horse
  • 07: The Royal Arch
  • 08: Best Served Cold
  • 09: Op1 Dead
  • 10: Ai Futurr

XDCVR_ unveils 'I HATE THAT SHIT, I HATE ALL THAT SHIT' a blistering sonic manifesto on the 'performativity of decay'.

In a world saturated with digital perfection, the album emerges as a vital, hand-made act of electronic rebellion.

Framed as a "soundtrack for the end stretch" the record explores the notion that societal decay is not a passive process, but an active performance—a machine chugging along long after its wheels have fallen off.

This is cyborg music for a bifurcated reality: carbon-fiber toughness shielding a core of systemic rot. The sound palette is intentionally raw and imperfect, a direct challenge to the sterile, automated order of what the artist calls the "techno-fascist oligarchy."

Tracks eschew conventional temporality, mirroring the feeling of existing in two concurrent timelines—one hyper-aware of the collapse, the other numbly consuming it.

Drawing a line from the Cold War anxieties of the past to the data-farming dystopia of the present, 'I HATE THAT SHIT…' posits art as the last authentic incubator for societal change. It is, in the artist's words, "a deliberate 'fuck you' to the oppressive order of the status quo. This is not easy listening; it is a contested space, a lit fuse, and a necessary noise for our complicated times."

Сделать предзаказ22.05.2026

он должен быть опубликован на 22.05.2026

Kruder & Dorfmeister - DJ-Kicks Kruder & Dorfmeister (30th Anniversary Box)
  • A1: Herbaliser – A Mother
  • A2: Small World – Livin’ Free (Soundtrack Mix)
  • B1: Tango – Spellbound
  • B2: The Lab Rats – Give My Soul
  • B3: Statik Sound System – Revolutionary Pilot
  • C1: Jmj & Flytronix – In Too Deep
  • C2: Aquasky – Kauna
  • C3: James Bong – Mr. Kiss Kiss Bong Bong (Big Brothers Dubbing You Full On - Dub Tractor Remix)
  • D1: Hardfloor Presents Dadamnphreaknoizephunk – Dupdope (Dubdope)
  • D2: Thievery Corporation – Shaolin Satellite
  • D3: Kruder & Dorfmeister – High Noon
  • E1: Beanfield – Keep On Believing
  • E2: Sapien – Que Dolor
  • E3: Shantel – Bass And Several Cars
  • F1: Karma – Look Up Dere
  • F2: Showroom Recordings – Radio Burning Chrome
  • F3: Kruder & Dorfmeister – Black Baby (Dj-Kicks)

For its 30th anniversary, Kruder & Dorfmeister’s DJ-Kicks is available for the first time in mixed form on 3LP, remastered by Bernie Grundman and packaged in a special box set including original imagery. Kruder & Dorfmeister's rendition of the series created an era defining moment, which tied together a glowing array of musical registers. The Viennese downtempo royalty blended a fusion of slowed down moments across many genres with rolling Drum and Bass from the likes of Aquasky, the melting acid lines of deep Hardfloor and the 90s boom bap sampling, smoked out atmospherics of Thievery Corporation amongst many more.

These masters of mood channeled the sound of a moment with their DJ-Kicks, which still retains a certified cinematic sheen, the patina of the real – curation and mixing at its most playful and refined. It remains to this day one of the most recognizable DJ-Kicks and mixes of all time. Containing two certified cuts from K&D themselves; the wooze is strong on “High Noon” with Dorfmeister's intoxicating jazz flute licks and a trembling harmonica atop a mirage of breaks. Their DJ-Kicks original and legendary tune “Black Baby” closes the mix providing a piece of grandeur, riding off into the distance deep to the vanishing point.

When the mix dropped in 1996, the slo-beat pioneers were among the hottest producers in the dance universe. Even though they only produced two unreleased maxis, names like Count Basie, Bomb The Bass, Alex Reece or United Future Organization had some of their tracks remixed by these exceptional producers. Rumour has it during the work for DJ-Kicks and their debut album they refused doing remixes for U2, Grace Jones, Elvis Costello and the Fantastic Four! ‘DJ-Kicks: Kruder & Dorfmeister’ took its place in the pantheon a long while back, effortless in its ability to traverse sounds, styles and tempos while retaining a selection which remains timelessly recognisable as: Kruder & Dorfmeister.

Сделать предзаказ22.05.2026

он должен быть опубликован на 22.05.2026

Aza Lineage - Rebel Daawta LP

Aza Lineage

Rebel Daawta LP

12inch0054645279413
DUB ROCKERS/VP
22.05.2026
  • A1: Rebels In Town
  • A2: Nuh Wah Talk
  • A3: Sound System
  • A4: Chikiwawawoi
  • A5: A Rub-A-Dub Or Two (Feat. Johnny Osbourne)
  • B1: Rule The Sound
  • B2: No Vagabond (Feat Jessie Royal, Brandon Rootsz)
  • B3: Bad Son
  • B4: One Draw
  • B5: Watch Out

King Jammy–produced full-length debut from rising reggae songstress Aza Lineage, Rebel Daawta. Features appearances from Hi-Times Band, Jessie Royal, and Johnny Osbourne. Beautifully packaged in a full-colour sleeve.

Сделать предзаказ22.05.2026

он должен быть опубликован на 22.05.2026

Sa Pa - Girls On Tour EP

Sa Pa launches Dub Techno For Life: a dedicated outlet for the artist’s more dancefloor-focused material - work that has largely sat outside the conceptual frame of his previous releases.

The label’s first release, Girls on Tour EP, opens with “Mokira Ultra Dub”, a 10-minute club rework of Mokira classic “Manipulation Musik”. Originally produced alongside an ambient version commissioned for Kontra Musik’s 2016 Kontra X compilation, the dancefloor mix was ultimately shelved until now. With Andreas ‘Mokira’ Tilliander’s blessing, it finally surfaces as a standalone Sa Pa production. A track too banging to go unreleased.

“Waiting For You” traces back to Sa Pa’s orbit around the giegling ecosystem via FORUM. Once lined up for an official release on the parent label before plans stalled, the track slipped into the archives. Buoyant and disarmingly pop by Sa Pa standards, it finds its place here as the A2 - tuned to the collective memory of mid-2010s German house music.

Harnessing the spirit of Chain Reaction from the abandoned patches and borrowed machines of a rainy night’s recording in Taipei, the B-side’s “Modular System” captures a late-night, one-take modular jam. A broken yet hopeful “World Saving Banger” closes the EP with some raw and IDM-leaning force, showcasing Sa Pa’s new label - and the Girls On Tour EP - as a space for neo dub techno ideals to take shape.

Сделать предзаказ25.05.2026

он должен быть опубликован на 25.05.2026

IADI - Under My Skin

IADI

Under My Skin

12inchNEOLIFE003
Neo Life
23.04.2026

Between flesh and silicon. “Under My Skin” (2026) is the first album by IADI, released by Neo Life. A record like few
others, highly conceptual, cover art included. Its essence lies in the folds of the increasingly ambiguous relationship
between man and machine, where the former designs the latter and, perhaps without fully realizing it, is gradually
destined to adapt and be reprogrammed by it. Each track of “Under My Skin” is, in fact, a sort of interface, connector, or
any other imaginative point of contact between two creative phases, amid emotional impulses and binary calculations.
The sonic architecture oscillates between analog warmth and algorithmic coldness, constructing landscapes in which
pulsating synthesizers and mechanical rhythms seem to question each other. There's no linear narrative, but rather a
progressive immersion in a zone of near-friction, where the comfort of technology coexists with more than a faint
musical uneasiness, like a background noise that never ceases to remind you who's truly in charge. In “Under My Skin”,
the machine is neither an enemy nor a simple instrument: it's a real presence, intimate, even tactile, amplifying desires,
fears, and dreams of dawns beyond the digital realm. Intelligent dance music. Less noise, more sensations. Electronic,
but profoundly human.
The final result, then, is a music project that speaks to the present, yet sounds like an X-ray of the future, capturing that
fragile moment when humanity and technology stop observing each other from afar and begin to merge, track after
track. It's no coincidence that IADI's album opens with “Impulse”, an immediate expression of an electrical impulse, for
both humans and machines, which is also the language of the nervous system, as fast as it is vital—pure energy and
rhythm, a track as intense as it is irregular. And after this introduction, it's the turn of the equally erratic “Axon”, whose
title describes the neuron that transmits the signal over distance, telling the listener to sit back and relax for a new
journey through the notes toward the more melodic “Cortex”. The cerebral cortex, the ultimate seat of thought and
memory, becomes the source from which the musical flow of the first part of the work is drawn.
Then, suddenly, an automatic, or instinctive, response to the constant succession of impulses: “Reflex”, or zerotemperature techno, with a fragmented pace, featuring vocal samples, breaks, and restarts. In the producer's
imagination, the subsequent, and conversely placid, “Neuron” represents the emotional core of the second part of the
work, providing a kind of respite from the seething vibrations. While the neuron is the basic unit of the nervous system,
the synapse is the functional connection point between one neuron and another effector cell, essential for the
transmission of nerve impulses and communication in the nervous system, enabling functions such as learning and
movement. Likewise, a track like “Synapse” once again illuminates the path traced by IADI. The more experimental and
streamlined “Static” instead suggests true ordered chaos. “Dreamstate” is the conclusion suspended in the void, relating
to that dreamlike state between waking and sleeping, where consciousness fades toward infinity and visions begin. Pure
fading into the subconscious. Eternal return to where it all began. Dancing is a form of consciousness. Every beat is a
question. IADI, however, holds all the answers you need.

В наличии на складе

Есть у нас в наличии и готов к отправке

KÉPA - SOUL WASH SERVICES

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

В наличии на складе

Есть у нас в наличии и готов к отправке

Moondata - Let The Moonshine In (Remixes)
 
1

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Chronicle - Ivory Tower 2x12"

Chronicle

Ivory Tower 2x12"

2x12inchSPTLP009
Spatial
29.05.2026

Enter the debut LP of the now Spatial regular Chronicle - Expect a joyous, varied blend of old school brand new atmospherics from one of the scene’s most talented producers. A1 - 20th Century Man Straight into the beats for the deliciously cheery opening, 20th Century Man encapsulates so much of what Chronicle does best - old school breakbeat sensibilities delivered with an inimitable atmospheric charm, strongly reminiscent of that peak Good Looking era we all adored. Incredible synthwork and analogue drums layered with danceable 2-step breaks and melodies take your mind exactly where you want to be. A2 - Terraformers Seminal synths and birdsong effects prepare us for an impossibly crisp breakbeat and 808 bassline to drive this track along, coloured by a myriad of subtle blips and bleeps, delicately flecked across a detailed and optimistic soundscape. Very DJ-friendly from the first to the final bar, the purity of Chronicle’s approach to atmospheric drum & bass is once again at its best here on Spatial. B1 - Boundless Space Playful twittering birds, gentle hi-hats and panning synths introduce Boundless Space, a blissful, serene treat for the senses which soon kicks into flourishing life with the timeless Circles break. Vocal samples punctuate the soothing breakdown with exquisitely programmed effects dotted here, there and everywhere, completing a stunning composition that both reflects on the past and looks forward in equal measure. B2 - Ephemeral Style A light, delicately calming pad-laden intro with echoing melodies opens Ephemeral style, soon punctuated by a sublime 808 bassline preceding the drop. Chronicle showcases his dancefloor breakbeat prowess with an energetic 2-step break pattern, expertly programmed and riddled with detail and density, creating a wonderful collage of sound and a perfect addition to any era-spanning atmospheric set. C1 - Modular Expansion Eerily reminiscent tones harking back to the golden, ultra-classic Good Looking era introduce us to Modular Expansion, a track which quickly adds layer upon layer of original identity to the vibe with crisp breaks, a wonderful metallic backdrop snare and subtle vocal samples. The joyously retrospective breakdown complements the energy of the track beautifully, capping off another gem for the record box. C2 - Limbic System Chronicle introduces Limbic System with swathes of swirling pads and synths, straddled with a subtle yet enigmatic melody carrying us through the drop, where we are treated to a lusciously constructed old school break pattern with a modern twist. Enter the breakdown and the keen ear will spot sampled quotes from Total Recall, which fit the vibe perfectly. “You went to Recall?” - yes, we sure did. And we enjoyed the trip! D1 - Non-Euclidian Continuing the blissful retrospective atmospheric tone of the album, Chronicle serves up Non-Euclidian which opens with a wonderfully synthy intro flecked with old school break samples and an earworm melody, before the onslaught of layered breaks provides variety as well as a thoroughly danceable pattern to unleash on the discerning dancefloor. Trademark dotted effects punctuate the track throughout. D2 - Deep Thought Capping off the LP we have Deep Thought, setting a calming and quietly brooding vibe before impossibly crisp beats kick in and elevate proceedings nicely. Chronicle effortlessly leads the listener through the drop with an analogue punch, earthy basslines and fluttering effects with the kind of flair we’ve come to love from such a vastly experienced and talented producer - perfectly complementing the vibe here at Spatial. Words by Chris Hayes (Spatial / Red Mist)

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Autorhythm - Self Help Manual LP

/// 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

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Stand High Patrol - Our Own Way LP 2x12"

2023 Backstock

New album of one of the biggest Reggae/Dub french soundsystem starring MacGyver, Rooty Step & Pupajim (who worked with Alpha Steppa, Biga Ranx, High Tone, Mungo's Hi-Fi ...).

Since their inception at start of the 2000s, Stand High Patrol have rocked sound systems to their own riddim, assimilating and re-purposing the codes of the genre in their own unique style. From tiny bars in Brittany to huge festival stages, on independent radio or across national airwaves, the crew have quietly trod their own path, never compromising their core value of independence. Connoisseurs have long recognised Stand High’s credentials both as a dub group and a leading sound system, but they stand out from the crowd because of their ability to deliver the unexpected, whether live or on record. Their ability to draw such a diverse audience is testament to this atypical approach to making music.

In 2020, almost 20 years since their humble beginnings, the collective presents their fifth album, “Our Own Way”. As with their first two albums “Midnight Walkers” and “Matter Of Scale”, now considered as classics in their genre, this new opus asserts itself as the latest representation of the crew’s versatile approach to crafting sound. Their music, a blend of its own known as “Dubadub”, has always borrowed influences from multiple sources, and over the course of their career their roots in dub and reggae have intertwined with hip-hop, jazz, new wave, trip-hop and numerous other genres. The ‘Dubadub Musketeers’ have never ceased experimenting, forever seeking to increase the sonic territory they cover, day after day. Both live and recorded, they’ve made it a point of honour to never offer up the same thing twice. Any resemblance that “Our Own Way” might bear to those first two albums is a consequence of this obvious creative continuity, rather than of going “back to basics”.

In contrast to the last two Stand High Patrol records, the hip-hop inspired “The Shift”, or the Bristol indebted “Summer On Mars”, “Our Own Way” doesn’t have a unifying concept or theme. Rather than being limited to a single aesthetic, the LP pays respect to the entire canon of Jamaican music, all unified under Stand High’s inimitable production values. With the wealth of experience gained during the recording of their last two records, the collective decided to aim for a freer project, letting themselves be guided by their own music and their own instincts. The end result is a musical portrait of what Stand High Patrol is in the present moment.

The tracks that make up the new LP burst out of the studio, each born out of unbridled, impulsive creativity. Previously unheard compositions and specially re-tooled dub plates have been assembled into a tracklist that shifts and moves like a classic Dubadub Musketeer live set. Each step of the process has been refined by years of practice : composition, effects, and the final mix. Throughout “On Our Way”, the brutal dub stepper, though still a favourite for sound system sessions, is noticeable by its absence. Instead, it’s the full weight of the crew’s reggae heritage that’s expressed in the mix. It's not just the depth and weight of each tune that strikes the listener, but also the spaces heard between the notes that grab and hold their attention.. The sense of a trip, whether musical, internal or geographic, is omnipresent throughout the LP, linking each track to those before and after. “Our Own Way” finds Stand High Patrol exploring as usual, yet also narrating their journey as they’ve rarely done before.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026


Последний логин: 4 г. назад
Axis - Equinoxious

Axis

Equinoxious

12inchSL003EP
Solitary Listener
29.05.2026

Through analog synthesizers and Eurorack modular systems, in “Axis,” Equinoxious establishes an axis between electro and minimal electronics, closely flirting with the harshness of industrial. The pieces unfold under a logic akin to the cybernetics of Norbert Wiener: feedback systems, flows of information, and voltage control intertwine with the experience of the one who operates them; the synthesizer ceases to be a mere tool and becomes an organism that reacts and communicates.

These tracks are inspired by speed, the absurdity of reality, the impossibility of things, imaginaries of dystopia, and protocols of romance, delivered with mechanical frankness and precision.

Recorded between 2023 and 2025, the pieces stand out for their FM synthesis basslines and incisive 808 derived percussion; subtractive synthesis, and 90s samplers dragging staccatos and energetic sequences.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Felipe Gordon - Tezeta LP 2x12"

Felipe Gordon

Tezeta LP 2x12"

2x12inchSNFLP020V
Shall Not Fade
29.05.2026

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Monsieur Van Pratt - Illegal Disco 009

The Illegal Disco Limited series never misses. It's all about the king of cheeky edits adding his own spin to a carefully curated mix of disco and funk nuggets and, once again, here Monsieur Van Pratt is back with the goods. Though he always nods to the past with these reworks, he beefs them up with grooves designed for loud systems and to move floors. This one opens with the funk licks and disco stylings of 'Watcha Gonna Do' then gets celebratory with the feel good hands in the air vibes of 'The Contest'. Last but not least, 'Dance With Me' explores a more lavish sound with big vocals and lavish string stabs for good times only. Another doozy from Mr Pratt.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Brian Jackson - Now More Than Ever (3x12")
  • A1: Poetic Sands (Interlude) - Brian Jackson Feat. Wes Felton
  • A2: It's Your World - Brian Jackson Feat. Raheem Devaughn, J. Ivy
  • A3: We Almost Lost Detroit - Brian Jackson Feat. Moodymann
  • B1: The Bottle - Brian Jackson Feat. Omar
  • B2: Peace Go With You Brother - Brian Jackson Feat. Raheem Devaughn
  • B3: Beautiful Dame - Brian Jackson Feat. Raquel Ra Brown
  • C1: Lady Day & John Coltrane - Brian Jackson Feat. Rahsaan Patterson
  • C2: The Revolution Will Not Be Televised - Brian Jackson Feat. Black Thought
  • C3: Addiction (Interlude) - Brian Jackson Feat. Raquel Ra Brown
  • D1: Home Is Where The Hatred Is - Brian Jackson Feat. Lisa Fischer
  • D2: Madison Avenue - Brian Jackson Feat. Raheem Devaughn
  • E1: Is That Jazz? - Brian Jackson Feat. Rahsaan Patterson
  • E2: More Than Ever (Interlude) - Brian Jackson Feat. Raquel Ra Brown
  • E3: Now More Than Ever
  • E4: Home Is Where The Hatred Is
  • F1: Moonshine (Live) - Brian Jackson Feat. Carl Cornwell
  • F2: Racetrack In France - Brian Jackson Feat. Josh Milan, J. Ivy, Moodymann
  • F3: Winter In America - Brian Jackson Feat. Rich Medina
  • F4: New York City

Produced by Masters At Work (Kenny Dope and Louie Vega).

'Collaboration is stimulating, it's in my blood.' Thus speaks Brian Jackson and his philosophy for making music and it's indeed collaboration that runs through this amazing album of reimagined and revisited songs from his artistic past. Featuring artists such as Black Thought, Rahsaan Patterson, Josh Milan, Moodymann, Omar, J. Ivy and others and being produced by Masters At Work, Now More Than Ever takes the enduring classic tracks that Brian made with Gil Scott-Heron and places them in the now over nineteen tracks and across a triple vinyl LP or double CD.

Songs such as Lady Day & John Coltrane, The Revolution Will Not Be Televised, Home Is Where The Hatred Is, Winter In America, The Bottle and more soundtracked a generational movement of Black Consciousness in the 70s and 80s. As Brian says, 'This album is one way to connect to what we were about in the 70s; we were about change and this is part of the lineage of resistance. These tracks mark a period of time when resistance was essential and now a younger generation has picked them up.'

'As young men in their twenties we (Brian and Gil) just wrote about what we saw and were feeling and people interpreted these songs in ways we never thought about but as Sly stone said the song comes from me but it's for you.' This statement from Brian perfectly sums up the collaborative nature of Now More Than Ever and the relevance of these songs in a contemporary perspective can be perfectly summed up by the songs themselves. The formidable stable of artists contributing to each track and the excellent production from Louie Vega and Kenny 'Dope' Gonzalez make this album an event in itself. However, these songs are there to be enjoyed as a canon or as individual masterpieces, whether on the dancefloor or on a home system. ‘Now More Than Ever’ just has to be in everybody’s music collection.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Vox Populi! - In Dub

Vox Populi!

In Dub

12inchERC157
Emotional Rescue
29.05.2026

Emotional Rescue returns after a much-needed year hiatus, refreshed and ready, as it moves into its 15th year, to further explore the environs of oft-forgotten musical secrets and present them to new heads and minds.

To celebrate, the label looks back to one of its favourite collaborations, the music of French ‘Ethno-Industrialists’ Vox Populi! in presenting a truly unique EP of “In Dub”, inspired remixes by 4 fellow Paris based artists of today in Full Circle, Froid Dub, Krikor and Shelter.

“In Dub” takes a selection of songs from the series of albums reissued or compiled on Emotional Rescue and sister label, Platform 23, and gives the Master tapes to this talented ensemble to offer their own, unique dub reworks. The project explores the on-going advances in technology offered, mixed with pure talent and a respectful homage.

Formed by Axel Kyrou and including wife Mitra, as well as long-term music and art partners Pierre Jolivet aka Pacific 231 and Francis Lafont aka FR6 Man, they forged a path from obscure, drum and drum-based cassette releases on to fully realized albums and compilations on their now cult Vox Man Records.

Alexis Le Tan and Joakim’s Full Circle project starts, with their electronic dub remake of Soleyman Dub from the ‘Alternatif Réalisme’ compilation (ERC079). With releases on Good Morning Tapes, Offen and their own “Released” label, their plaudits as master diggers and producers of dubby tripped-out inspired electronics – releasing slowed Trance some 10 years before anyone else – is inspired. Tuning in and turning on the original dub into a mantra style slow-breaks (Digi)dub is the perfect experimental flavour.

Jube Man is next, a twisted, psychedelic dub out by rising stars Froid Dub. The stand-out from the ‘Magiques Creations’ release (ERC052), an album that explored Vox Populi’s furtive post-industrial period of 1984 to 1988, Jube Man was the perfect selection by the duo of François Marché and Stéphane Bodin.

Froid Dub have steadily developed their “cold” Digidub style to acclaim –

releasing a steady flow of dub inspired electronics on their own label Delodio, as well as recently appearing on sister label Emotional Response’s 10th year anniversary collection, ‘All Trades’. Their haunting, shuffling and murky acid / piano dub, with the drifting “Space Echoing” of Mitra’s vocals from the live desk mix, creates a ghostly version to effect.

Next, master mixer, producer and engineer Krikor serves a steppers remake with his “OverDub” of Zen-Dub. With a career that spans releases on Tigersushi, LIES and Soul Jazz, his sound has developed from Electro, House and Techno, to Acid, Bleep, Dancehall, Dub and touches of Gabba.

Taken from Vox Populi!’s master-opus Aither (ERC030), the first of our reissues dating back to 2016, Zen-Dub’s pacey, lo-fi dub experience is transformed and overdubbed into an incessant sound system throb, a true bass quaking “steppa”.

To close, Micro Climax is put through Shelter’s increasing avant dub exposition. Appearing on the likes of Growing Bin, Emotional Response and his own Protopost, as well for – and being in-house designer – on the much-missed Séance Centre, Alan Briand aka Shelter productions have developed from Balearic, Edits and House to explore Avant, Raga and live Dub productions.

Appearing on the recent ‘Ethniques Pyschedeliques’ compilation on Platform 23 (PLA032), in original form Micro Climax is a sprawling 10-minute ethno-dub of whispered vocals, drone and sub bass. Shelter strips it back, keeping background effects, adding live bass and percussion to create a wonky, slow, shuffling ska-lite excursion to complete a true “In Dub”.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

DEAFKIDS - CICATRIZES DO FUTURO LP
  • 01: Parasita
  • 02: Cicatrizes
  • 03: Profecia
  • 04: Simulacro
  • 05: Advertência
  • 06: Reflexo
  • 07: Feitiço
  • 08: Possessão Coletiva
  • 09: Em Transe

Brazilian duo DEAFKIDS returns with a vital and combustive new album, CICATRIZES DO FUTURO (SCARS OF THE FUTURE).

This nine-track sonic assault forges a path beyond the conventions and boundaries of static musical genres. Here, electronic fury and feverish organic percussion collide with a relentless Latin American punk spirit.

Vinyl is opaque orange with black dot splatter. Limited


PRESS FOR PREVIOUS ALBUM ‘METAPROGRAMACAO’ (NR113)

LEAD REVIEW IN WIRE MAGAZINE: 'BRAZIL'S DEAFKIDS PERFECT AN UNHOLY COLLISION OF DUB, METAL AND PSYCH ON THEIR CACOPHONOUS NEW ALBUM'
'OPENER 'MENTE BICAMERAL' SOUNDS LIKE BAD-TRIP MINISTRY AND THE SEVEN MINUTE CENTREPIECE 'RAIZ NEGATIVA' IS ABSOLUTELY HUGE' 4.5/5 NARC

“ONE OF THE MOST INDIVIDUAL ENDEAVOURS OUR COMMUNITY WILL DELIVER THIS YEAR” ZERO TOLERANCE.

9/10 REVIEW IN LOUDER THAN WAR: “. IT'S NOISY, IT'S INDUSTRIAL, IT'S PUMMELLING AND ULTIMATELY, IT'S COMPLETELY SATISFYING..

Conceptually, the album is a visceral diagnosis of a world intoxicated by its own fictions
of power, tracing the anatomy of a systemic grand deception and exploring its mechanics
of psychological, social, and material domination, the indelible marks imprinted on bodies
and minds and its catastrophic consequences.

It is a journey from the poisoned and addicted collective psyche to the desperate search for an antidote, while the future seems to be already cursed by the very forces that pretend to build it. Yet, for all its thematic weight, CICATRIZES DO FUTURO is hypnotically danceable - physical and ritualistic music that demands body movement as a form of mental cleansing. The album doesn’t just reflect a fractured and violent world — it breathes desire to live and resist through new sonic paths

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

THE WOODLEIGH RESEARCH FACILITY - Anamchara LP 2x12"

W.R.F. was formed in 2015 by Nina and late studio partner Andrew Weatherall to help wrangle the vast output recorded together beyond his solo releases.
Spotlighting nine tracks from the Apparently Solo series of EPs recorded between 2016- 2019 and released on Bandcamp in 2023, this lustrous time capsule marks the culmination of Walsh and Weatherall’s creative relationship born after they clicked at London’s earliest acid house clubs, becoming partners then managers of their Sabres Of Paradise/Sabrettes labels before taking different paths by the late '90s.
An accomplished musician, Nina had learned the art of studio technology by the time they reunited and started working together in 2012. Created at her Facility 4 Studio situated in the dangerous, gang-ridden no man’s land between Streatham and Mitcham, Anamchara captures the super-prolific creative stretch starting in 2015 that produced Weatherall’s Convenanza and Qualia solo sets, W.R.F.’s The Phoenix Suburb (And Other Stories) plus a whole lot more. According to Nina, Andrew envisioned the spectacular ‘Borderland’ as natural successor to ‘Smokebelch’, his most revered track. When it came to his remix, Nina enlisted renowned viola virtuoso Sarah Sarhandi and composed new harmonies with Pachelbel’s Canon in D Minor in mind.
The set also catches the breakthrough period when, through Nina’s careful coaxing, Andrew started using the computer system she’d set up to better express his musical visions by arranging the elements, grooves and melodies she sent him. Still considered the UK’s greatest DJ-producer, Andrew’s arrangements were inspired by his club-igniting sets. “This allowed me to mix the colours for his palette whilst he was painting the picture,” says Nina. Anamchara straddles the gamut of musical styles explored by W.R.F. at this time, from slower paced psychedelic “drug chug” outings ‘We Two’. ‘Heat To Meat Ratio’, ‘Hidden Watchers Part 1’ to banging acid house and techno sometimes inspired by the violence outside the studio door, including ‘SCHLAP’, ‘Crack-Ed’ and churning acid juggernaut ‘Yacidik’ (“After much dangling of the acid carrot, Andrew took a bite and, after one familiar raised eyebrow, never looked back,” says Nina).
Many tracks fly elements from the enormous sonic library Nina inherited from late partner Erick Legrand that she called The Akashic Library of Sound. Marking Andrew’s 2016 admission into the vault, ‘Rattly Old Puffin’ boasts Erick’s psychedelic guitar and tumbling drum loop Weatherall would run with, including on ‘Borderland’. “Erick was like our third member,” says Nina.
Bringing down the curtain, ‘Alma’’s exquisitely poignant melody that unfolds over thirteen time-stopping minutes was composed by Nina while navigating Erick’s birth and departure date anniversaries to accompany Andrew’s reading from Gordon Burn’s 1991 same-named novel at 2018’s Durham Literary Festival. Burn’s novel imagines early 60s popstrel Alma Cogan, who succumbed to cancer in 1966 surviving to reflect on fame. “Now it just makes me think of Erick. And every time I hear those well-placed cymbal crashes I can only think of the Captain himself.”
A beautiful grand finale for this astonishing selection of pure gold from the vaults.
Kris Needs / 2026

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Stand High Patrol - Midnight Walkers LP

2026 REPRESS

New repress of the first album "Midnight Walkers". We have used the same vinyl metal works as the first 2012 pressing.

After several releases on 7 and 12inch, Stand High Patrol, the french crew of Pupajim, Rootystep and the legendary Mac gyva is back with a long awaited LP. With strictly brand new killer dubadub, digital and hip hop tracks including crazy echos, “Midnight Walkers” is totally unique! It contains all elements of a Stand High live session and offers an evolving dubadub. With the crazy voice of Pupajim and totally timeless dubs, the first album of the three “dubadub musketeerz” deals with the particular originality that made of Stand High Patrol one of the toughest dub sound system of France. Every bass addict and every dub fan should enter the Stand High experience. If you are ready, fasten your seat belt and run the track! We hope that you will enjoy the flight!

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026


Последний логин: 9 мес. назад
Stand High Patrol - The Shift LP

2026 Repress!

The story begins in 2000 in Britany (France). Two guys decide to create a sound system with the aim of sharing their common passion for roots reggae and early digital. Rootystep (selecta) and MacGyver (operator) begin to collect records and purchase music equipment. They are quickly joined by Pupajim who becomes the MC, the singer and the dub builder. The Stand High Patrol first toured the land of Brittany, gradually moving towards stepper dub production emanating from the English stage. Fifteen years later, the sound is more present than ever. Stand High has created a true identity and has established itself as one of the essential sound systems of the French dub scene. In 2009, Stand High Patrol creates his own label "Stand High Records". In 2012, after releasing several records, the Dubadub Musketeerz present their debut album "Midnight Walkers", 13 exclusives & wicked tracks inna pure Dubadub Style. In 2015 the dubadub experience takes on new dimensions with their second album : "A Matter Of Scale". In 2017 they are back with "The Shift" a third LP totally dedicated to Boom Bap & 90s Hip Hop. Words, blue notes, boom bap and bad news: here comes "The Shift", the third album of Stand High Patrol.

IN 2017, TRYING TO MAKE BOOM BAP FROM THE 90s, INSPIRED BY JAZZ FROM THE 60s, MIXED WITH MACHINES FROM THE 50s

Lyrics, Boom bap and bad news: Stand High Patrol present their third album 'The Shift' and confirm their attachment to 90s hiphop.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026


Последний логин: 11 мес. назад
Andy Rantzen & Ryan Spinoglio - Ahead of the Game 2x12

Unpolished, refined, energetic club "mutations" Rantzen and Spinoglio go way back in time as old friends, and we are reuniting some of their old and recent pieces to forge a strong atmospheric dance LP with a unique flavor. Luen is also contributing strongly through her collaboration with Andy on " Black cloud". Some tracks in this release were made 15 years ago and some others were made in the last 5, but who cares ? Enjoy the music

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Lewis - Summer Selections Six

Now into its sixth year, NuNorthern Soul’s Summer Selections series has become a popular annual fixture. Like its predecessors, 2026’s edition showcases a variety of Balearic dancefloor workouts, sensual soundscapes and tracks tailor-made for poolside sun-down sets.

As usual, Summer Selections Six is a vinyl-first affair, offering wax enthusiasts a chance to cop killer cuts set to feature on a swathe of forthcoming NuNorthern soul releases – including some that would otherwise be unavailable on physical formats.

To begin, is It Balearic? label regulars and Rotation Sound System crew members Wrekin’ Havoc turn their attention to NuNorthern Soul favourite B.J Smith’s 2014 cover of Outkast’s ‘Prototype’. Their take, which will be featured on a forthcoming collection of reworks of Smith’s NNS material, places the long-serving producer’s beautiful, beguiling vocals atop lo-fi 80s electro beats, moody pads, squelchy synth sounds and far-sighted electronics.

Up next is label newcomer Sasha Foam, a fast-rising Lisbon-based DJ/producer whose Memoria EP is set to land digitally soon. ‘Curios’, his contribution to Summer Selections Six, is a propulsive and ear-catching affair, with joyful synth melodies, rushing piano riffs and cheerful TB-202 style acid tweaks rising above a crunchy, drum-machine driven mid-tempo groove.

Rounding off side A is ‘Call To Wind’, a rootsy, warming and sun-baked slab of Balearic dub gorgeousness from Strictly Dub Records founder Saimon AKA Roots Artefact. The track, which marks his first new material since last year’s NuNorthern Soul debut Different Perspective, is one of the many highlights set to be featured on the Estonian’s forthcoming Rocking Boat EP.

Turn to the flipside and you’ll find three more inspired, immersive treats. Dan Dub Lounge, Muzka and Simon Sheldon being their Visions of Light project back to NuNorthern Soul with the borderline genius ‘ReBorn Slippy’, an exotic, intoxicating and sitar-laden slow-motion instrumental cover of the Underworld favourite taken from their soon-come collection of ‘mild pitch’ takes of dance and electronic classics.

To complete another stellar Summer Selections 12-inch label founder Phil Cooper platforms two recent additions to the roster. First is Potteries-based producer Andrew Wright AKA Lonely Deckchair. Wright offers up ‘Adaflo’ from his forthcoming debut album. Atmospheric and magical, ‘Adaflo’ is a simmering, slowly unfurling fusion of poignant pianos, minimalist beats, shuffling bass and tumble-down chords.

Then there’s Aussie artist Perth Lewis, whose first two self-released albums (Moments In Time and Distance Between) were recently reissued by NuNorthern Soul. The Sydney-based producer is set to release a new EP, Cherry Moon, soon, and ‘Monolith’ is taken from that collection. Deep, dubby and beguiling, it sees Lewis pepper a head-nodding, effects-laden beat with spacey sonics, cascading piano motifs and some seriously sparkling synths.




[d] B1: Visions of Light -

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

UNPRONOUNCEABLE - DESTINATION UNKNOWN EP

Destination Unknown is an EP by Unpronounceable born from an archive of sounds collected between 2019 and 2024—sonic fragments that took shape without a predetermined direction guided only by an open idea in constant transformation. The original track conceived as a “destination unknown” composition developed its own independent identity. However precisely because of its fluid and cross-genre nature Unpronounceable chose not to place it within a traditional EP context instead opening it up to a multiplicity of perspectives by inviting five artists to reinterpret it freely without genre constraints.

The result is an EP that unfolds like an alternative map of the same sonic territory where each remix explores a distinct direction transforming Destination Unknown into a multifaceted and ever-evolving experience.

In Carl Finlow’s remix Destination Unknown takes on a strong cinematic and narrative dimension. Inspired by the title Finlow imagines a mysterious journey toward a futuristic dystopian city turning the track into a kind of electro soundtrack—dark yet ironic rich in character and capable of evoking vivid images and motion.

MANASYt pushes the track toward more physical and ritualistic territories focusing on the dark pads and the more oneiric vocal elements of the original. The result is a hypnotic pulsating tribal-industrial reinterpretation where rhythm and sonic material become central intensifying the track’s most visceral qualities.

With Gay Horror the focus shifts to an emotional and narrative dimension. The vocals are deliberately made elusive and undefined while the structure develops through a slow controlled crescendo that recalls the atmospheres of ’90s trip-hop. This version also reflects a long-standing human and artistic relationship conceived as a story that travels through time and reaches the present day.

Kevin Follet adopts a more conceptual approach overturning the perspective of the original track. Rather than working with its main elements he brings the underlying structures to the foreground transforming what usually remains hidden into the core of his reinterpretation. His remix is elegant and deep balancing sound exploration with a strong attention to songwriting.

Closing the EP is GP The Synth Roller with a radical and highly experimental reinterpretation. The track behaves like an unstable system: parameters shift without warning surfaces lose coherence sudden accelerations collide with moments of arrest. There is no resolution only a sonic condition in constant tension eventually condensing into a dark compact mass.

Taken as a whole Destination Unknown is far more than a simple remix collection: it is a collective exploration of the potential of a single composition. Unpronounceable’s original track and the reinterpretations by Carl Finlow MANASYt Gay Horror Kevin Follet and GP The Synth Roller move across electro techno industrial and experimental territories offering six different perspectives from the same starting point. An open journey with no fixed destination where every detour becomes an integral part of the path.

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Monolord - Neverending

Monolord

Neverending

12inchRR76321
Relapse Records
29.05.2026
  • 1: Iodine
  • 2: You Bastard
  • 3: Inside A Collider
  • 4: Crystal Bridge
  • 5: Ooozing Wound
  • 6: The Masque
  • 7: Invisible
  • 8: It's Neverending

For well over a decade, MONOLORD have caused mass riff hypnosis with longform epics steeped in repetition, volume, and heaviness. One of heavy music’s most consistent and beloved bands, MONOLORD are gearing up for their next chapter with a new album titled Neverending. In looking for a new take on the genre, MONOLORD approached the legendary producer Sylvia Massy, known for her work with Tool, System of a Down, and Johnny Cash, among many more. The payoff from this new process is undeniable. Neverending feels like the culmination of 13 years of heavy, molten music, with a keen eye towards creating a sharper album. “The recording of this album is an example of the spirit of MONOLORD’s camaraderie,” says bassist Mika Häkki. “We’ve looked back and seen for the first time how much we have done as a band collectively, and realized what an intense 13 years it has been.” "The lyrics on this album are more personal than before because I went through some major life changes in the last couple of years,” guitarist/vocalist Thomas Jäger says. “I usually write about religion and how people are superstitious, but this record is more about relationships between people. But it’s not all about me. Sometimes I’m writing from another person’s perspective.” Neverending’s lead single “You Bastard” offers listeners a sharp contrast: A propulsive groove offset by lyrics about suicide. There’s two sides to suicide,” Jäger points out. “There’s the person who commits suicide and the people who gets left behind...The choruses represent the person left behind, and that person is calling the other a bastard—but it’s not pointing fingers or saying, ‘You suck.’ It’s more like, ‘You left me here with all the bullshit.’ It’s an understanding that life is not easy." Though it might not be immediately obvious, album opener “Iodine” was inspired by 70's rock epics like Lynyrd Skynyrd’s “Free Bird,” The Eagles’ “Hotel California,” and Led Zeppelin’s “No Quarter." Elsewhere, album closer “It’s Neverending” is the first MONOLORD song that Jäger doesn’t sing on. Instead, the death-metal style vocals are performed by former Entombed bassist Jörgen Sandström, (also of Grave, Domedagen and Firespawn.) 13 years on, MONOLORD’s path takes a new turn, and Neverending becomes the band’s most befitting album title. “It's been a wild ride and still is,” says drummer Esben Willems. “I've spent a quarter of my life in this band. Looking back, I'm incredibly proud of what we've accomplished along the way, and in many ways, this album feels like the essence of everything we've done so far. My mindset is the same it's always been, to be the absolute best the three of us can be.”

Сделать предзаказ29.05.2026

он должен быть опубликован на 29.05.2026

Infinity Plus One - Strong Together EP

Carpet & Snares inaugurates its ‘Friends’ series with four slammers from Stephen Slade aka Infinity Plus One. Active since the 90s and author of a series of highly sought-after minimal tech house records, Stephen’s sound is precision tooled for dancefloor explosions, and this EP is no exception.

On the A, he brings two versions of ‘I Broke Your Solar System’, one a stripped-back DBX-style tweaker, the other drenched in sunkissed keyboards and strings. On the B, ‘Forward Together’ is a tight house groove lifted into the stratosphere by flanged percussion, while ‘In The Streets’ luxuriates in stepping electro groove and lush pads.

Сделать предзаказ30.05.2026

он должен быть опубликован на 30.05.2026

Various - 12 INCH LOVERS 2 (2x12")

12 Inch Lovers nothing but classix, straight from vinyl! Part 2 of two double vinyl-pack incl. Tensnake, Afro celt Sound System, Midnight Star, Robert Babicz, Gregor Salto, Lovebirds, and Codec & Flexor



After its foundation in 2012, 12 Inch Lovers have become a household name for vinyl lovers in Belgium. Their parties sell out time and time again and focus on an adult audience that loves house and club music from the mid 90s to the present. This in combination with unique locations and DJ's that only play vinyl generates a very dedicated and passionate audience that share one big love: vinyl.

Сделать предзаказ30.05.2026

он должен быть опубликован на 30.05.2026


Последний логин: 2 г. назад
Hit The North - Dancefloor Music Movement

Hit the North is a DJs’ movement
Not a label. Not a revival. A discipline.

Over the years, the collective travelled across multiple states in the US and parts of the UK, digging deep into private collections, basements, garages, storage rooms and forgotten boxes.

They weren’t looking for classics.
They weren’t looking for hits.
They were looking for attempts.

Artists chasing something bigger than themselves.
Trying to sound like Motown.
Trying to sound like Detroit.
Trying to sound like the records that saved them.

Many of them dreamed — at best — of becoming a one hit wonder.
Most never got that far.

Some never crossed a state line.
Some never crossed the street at the end of their block.
Some never played outside their hometown.
Some never played at all.

What they left behind were fragments.

Raw versions.
Unfinished recordings.
Alternate takes.
Rejected mixes.
Test pressings.
Acetates passed quietly from hand to hand.

Sometimes with real credits.
Sometimes with fake ones.
Sometimes with handwritten labels leading nowhere.
Titles that didn’t match the music.
Stories that changed every time you asked.

Often, the trail simply disappeared.

What remained was intention.

Energy.
Urgency.
Hope pressed into sound.

So the collective worked on it.

They edited certain parts.
Extended others.
Cut what didn’t serve the floor.

Not to modernise.
Not to rewrite history.
But to unlock the power that was already there.

The result sounds like Northern Soul pushed to its breaking point.
Fast. Physical. Emotional.
Built for movement.

Some circulated privately.
Others were never pressed at all.

Recorded in personal studios, borrowed studios, friends’ rooms, temporary spaces.
Always outside the system.

This is not nostalgia.
This is unfinished business.

Сделать предзаказ30.05.2026

он должен быть опубликован на 30.05.2026

DJ Sprinkles & Hardrock Striker feat. Move D - SKYLAX HOUSE EXPLOSION IV – After The Dancefloor

DJ Sprinkles & Hardrock Striker feat. Move D

SKYLAX HOUSE EXPLOSION IV – After The Dancefloor

12inchLAXSHE4
Skylax Records
30.05.2026

A defining transmission in the history of Skylax Records. Originally released across different moments of the Skylax catalogue, these recordings are now assembled as the final chapter of the Skylax House Explosion series — a project exploring the architecture, memory and survival mechanisms embedded within house music culture. The record opens with Move D’s “Outer Rim 64”, originally released in 2018 as part of the Skylax House Explosion narrative. Suspended between motion and distance, the track establishes the conceptual perimeter of this final chapter — a space where rhythm no longer functions only as propulsion, but as orientation. Here the listener stands at the outer edge of the dancefloor’s architecture, where structure persists even as its original social conditions begin to disappear. The sequence continues with Hardrock Striker’s “Motorik Life (DJ Sprinkles Dub)”, originally released in 2011. Rather than operating as a conventional remix, the Dub reinforces the motorik continuum of the original composition, transforming repetition into endurance. DJ Sprinkles preserves the infrastructural skeleton of the dancefloor — its capacity to sustain bodies through duration alone, without narrative resolution or emotional release. The record culminates with “Motorik Life (DJ Sprinkles Mountain Of Despair Remix)”, one of the most politically explicit works ever associated with Skylax Records. Through the relentless repetition of the phrase “mountain of despair,” Terre Thaemlitz dismantles the traditional function of dance music, transforming remix culture into structural critique. Referencing Martin Luther King Jr.’s famous metaphor, the remix removes the promise of redemption and leaves only the architecture of struggle. The dancefloor is no longer presented as escape, but as a temporary condition of survival. Together these recordings reveal house music’s true function: not to resolve despair, but to create temporary conditions in which bodies can continue to exist despite it.

AFTER THE DANCEFLOOR

you cannot preserve a dancefloor
by archiving its sound
because the dancefloor was never sound

it was bodies
finding temporary protection
inside systems designed to erase them

house music was never a genre
it was a survival strategy

when the lights disappeared
the structures remained
and so did we

Сделать предзаказ30.05.2026

он должен быть опубликован на 30.05.2026

Various Artists - Analogue Audio Archive 001

Analogue Audio Archive, Issue One (AAA001VA) moves between focused listening and the dancefloor, exploring the correlation between machine-made sound and human feeling. Featuring Linear System, Hugo Rolan, Translate, and Ben Behrendt.

Сделать предзаказ31.05.2026

он должен быть опубликован на 31.05.2026

Max Watts - Wall Shake / All In One

LN015 presents two new cuts from Watts' ADAT archive. On the A-side, "Wall Shaker" is a timeless anthemic track built to rock dancefloors. True Midwest grit, original sound design, and a thumping mixdown drive this track. Play it nice and loud and it's guaranteed to shake the walls. On the B-side, "All In One" provides a 9-minute journey of chords, rhythms, and deep sub frequencies. Pressed at 45 rpm, these cuts are crafted carefully to compete on any system.

Сделать предзаказ01.06.2026

он должен быть опубликован на 01.06.2026

Loom & Thread - Dispersion (LP)

Loom & Thread

Dispersion (LP)

12inchMACROM83
Macro Recordings
17.04.2026

With Dispersion, Loom & Thread return to the volatile architecture of the expanded piano trio - and quietly fracture it from within.

Daniel Klein (drums), Tobias Fröhlich (double bass) and Tom Schneider (keys, sampler) remain the sole agents on stage and in the final recording. The triangle holds. And yet, the field has expanded. For their second studio album, the trio fed their improvisations with the timbral signatures of guest saxophone and vibraphone players - not just as additional voices to be featured, but also as material to be absorbed, atomized and redistributed. The result is not augmentation but thorough refraction.

Where the debut album explored the recursive labyrinth of Schneider's live sampling of his own piano, Dispersion introduces an external grain into the feedback system. Breath and metal. Reed turbulence and struck resonance. The trio sampled extended improvisations by saxophone and vibes players: Victor Fox, Asger Nissen, Volker Heuken, and L&T's own Daniel Klein; dissected their attacks, overtones and decay curves, and integrated these fragments into the trio's internal circuitry. What emerges is a play of presences without bodies - instrumental ghosts circulating through the dense weave of rhythm and keys.

At first, one might hear the familiar relational tension: Klein's polyrhythmic elasticity interlocking with Fröhlich's tensile double bass figurations, Schneider poised at the hinge between tonal field and percussive impulse. But soon, the surface splinters - again. A vibraphone shimmer appears, yet no mallets are visible. A reed multiphonic surges through the texture, bending space between bass and drums. These events are neither quotations nor overlays; they are redistributed energies, dispersed across the trio's grammar. A digital multidimensional interplay ensues.

If the first album unfolded as a two-tiered game - live phrase and sampled reflection - Dispersion adds a further axis. The sampled materials from other improvisers are stripped of their erstwhile two-way interaction and reconstituted as malleable particles. Signifier detached from origin, resonance detached from gesture. The trio navigates a constantly shifting topology in which acoustic memory and electronic manipulation are indistinguishable.

Crucially, the album never abandons the physical urgency of three musicians reacting in real time. The additional timbral layers do not thicken the texture into opacity; rather, they introduce stark points and arrows of diffraction. Density opens into prismatic clarity. Lines splinter and regroup. What seems like a quartet or quintet collapses back into three bodies negotiating an expanded field.

Dispersion is not about addition but about distribution - of agency, of timbre, of temporal perspective. It is an album in which the trio setting becomes a site of multiplicity without surrendering its immediacy. A dissolution not only of the divide between present experience and memory, but between inside and outside, self and other.

Three musicians. Countless vectors. A music that fractures in order to cohere.

CREDITS:
Tom Schneider: piano & sampler
Tobi Fröhlich: double bass
Daniel Klein: drums & percussion

sample sources:
Victor Fox: tenor saxophone
Asger Nissen: alto saxophone
Volker Heuken: vibes
Daniel Klein: vibes

Recorded by Martin Dressler at Bauer Studios, Ludwigsburg.
Mixed & mastered by Martin Ruch.
Artwork by Viet Hoa Le.

В наличии на складе

Есть у нас в наличии и готов к отправке

Продуктов на странице:
N/ABPM
Vinyl