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Carolina funk obscurity alert! "Migraine" by North Carolinian musician Dennis Garner, together with Dennis O., is a deep, rare slice of local funk magic. This 45 has always been a bit of a frustration—the cutting engineer accidentally left the lathe test tone running for a few seconds.mid-track, which made it tough to play out. We've finally fixed that issue, and now this killer cut is ready for some proper funtime.

Over the past decade, East London artist Kojey Radical has cemented himself as one of the most creative and unique voices in British music. His debut album Reason to Smile (2022) was released to critical acclaim, and saw him emerge as one of the defining voices in UK culture. Now, the 32-year-old readies to release his second album Don’t Look Down.

“I wanted to make this album more personal and more honest,” he says, “we have to be able to accept that the messenger has flaws and all.

16-tracks long, Don’t Look Down, set for release on 19th September 2025, is a musically rich and deeply introspective reflection on the shifting tides, lows and joys that have passed through his life since his emergence into the public eye.

Sonically, the album provides the most experimental and eclectic music of his career, with influences ranging from golden age Hip Hop to disco, grime to Indie, Jazz to Ska. Together, these strings combine to give a pertinent insight into Kojey’s inner world, and a timestamp documenting the feelings, emotions and experiences that arise when many reach the milestone of their 30s.

“When you’re younger, certain ages seem so grown,” he says, “you feel like you’re supposed to have your life together and all figured out by 30. Then especially when you're in the spotlight you feel extra pressure to have it figured out because so many people are looking towards you.”

Don’t Look Down follows debut album Reason to Smile (2022). A critical success, it landed at No.11 on the UK Album Charts and was nominated for the Mercury Prize as well as two MOBO Awards. In the following year came a nomination for Best New Artist at 2023 BRIT Awards and Best Contemporary Song at the Ivor Novello Awards. He toured across the UK, as well as hitting the festival circuit.

This sense of growth was not limited to music. Kojey was tapped by the British Fashion Council to host the 2023 and 2024 editions of The Fashion Awards as his stock in music and wider culture continued to rise.

The album he says, is a reflection of “the experiences I’ve had over the past few years. That shaped the direction I took going forward. It’s given me the opportunity to tell new stories from newer perspectives. It was liberating, and it was very necessary to keep me in love with the process and to keep making music.”

The result is his most innovative album yet, a project where a sense of profound personal interrogation and introspection dance in union with the rich musical tapestry. Don’t Look Down is a story of purpose lost and then found, of what happens in the aftermath of achieving your childhood dreams, and the ranging flux of emotions that rise to the surface once the music stop

"Like A Gun," originally self-released in 2019, is Laila Sakini's debut solo release, now remastered on limited 7-inch vinyl. The title track blends dark, atmospheric textures with dreamlike moments, while "Life Out Here Is Changing" offers a haunting, introspective soundscape. Features original cover art by Sophie Gemmill, with some copies including a new painting. A must-have for fans of experimental, emotive soundscapes!

Crowns by The Rebel feat. Corey James Gray is out now on 7’’ via Little Beat More!
The Rebel, aka Tommaso Taroni, producer from Rome and Founder of DJ’s Choice label, delivers a raw, soulful track that opens the door to his debut album. Crowns features the sharp lyrics and smooth, magnetic delivery by Corey James Gray (FKA Ill Spookin), riding over a sturdy groove with crisp drums and deep guitar loops.
On Side B a further explosion comes: Clap! Clap! signs a Power Trio remix of the track that flips everything on its head. With thunderous syncopated riddim and wild brass stabs, this version hits like a futuristic brass band from New Orleans: unrelenting, joyful, and rhythmically overpowering. A bold reimagining by one of Italy’s most visionary electronic producers.
Packaged in a stunning disco bag illustrated by El Moro, this 7” is both a record to play and a piece to keep. A snapshot of a fresh project in the pipeline, ready to go!

PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.

PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.

Motor city royalty Floorplan, aka Detroit techno pioneer and creator of minimal techno Robert Hood and his DJ/producer daughter Lyric Hood, announce their forthcoming inclusion in the deeply respected ‘fabric presents’ mix series with the release of their new single ‘You’re A Shining Star’, out now. The full mix drops on digital/vinyl/CD via fabric records on 28th November.

Robert has been a long-standing fabric favourite since the institution's earliest years, clocking up over 20 sets in Room 2, including a live session on New Year's Eve, 2012. In 2008, he'd turn in Fabric 39 which is among the most revered contributions to the fabric mix canon. Now, with the forthcoming ‘fabric presents Floorplan’ mix, the story comes full circle - marking both the duo’s debut on the iconic mix series and a monumental moment for the family project.

About Floorplan: Emerging from a musically rich Detroit upbringing steeped in Motown and vinyl culture, Robert Hood became an early member of the seminal ’90s collective Underground Resistance, helping to spearhead the rise of techno. Going solo, Hood created minimal techno with his Minimal Nation LP. Groundbreaking productions, acclaimed performances, and his own M-plant label followed, until in ’96 he formed Floorplan - an alter ego to expand beyond minimal techno into gospel, soul and house-infused techno. Immersed in music from an early age, Lyric eventually caught the same electronic spark that’s driven her father for decades. In 2014, after the release of Hood’s debut Floorplan album Paradise, the project evolved as the then-16-year-old Lyric joined him to perform as Floorplan, including a supreme closing set at Dekmantel’s Boiler Room stage. Two years later, Lyric officially became a full member of Floorplan, cementing their father–daughter collaboration, and they’d release their co-produced album Victorious on M-Plant that same year.

To submit or to surrender? Robert Johnson resident Oskar Offermann doesn’t have the answers, and that’s kind of the point. Things change: one moment you’re touring the globe as a recognizable face of one of the greatest clubs in the world, the next you’ve started a new life as a teacher. How do you handle that shift? On this record, Offermann doesn’t offer solutions so much as trace his own way through it, reflecting the whole process in his music and creative work.

Whatever the story, whatever the case, Oskar Offermann can still produce some of the most emotive, bleepy, strange dance music out there and this 12 inch is the proof. Sonically and conceptually it leans into that precise, melancholic German school: at points drawing from 80s wave and experimental music, then flirting with trancey motifs and closing in divinely crafted breakbeat. In just four tracks it packs in a surprising amount of functional range, exactly what you’d expect from one of RJ’s longest-standing residents. The A- and B-sides mirror each other: they open at full intensity, tempos pushed well past the 130 BPM mark, easy to imagine ripping through a peak-time floor – and still both sides land on something far more personal and reflective.

Even inside a framework of high-intensity club tunes, Oskar’s character shines through loud and proud. Think the slightly disjarring yet melodically captivating winds in the middle of the B1 trance induced number “Accepting”, or the masterfully paced build of opener “Planet Interface”. The same goes for A2 “Televise Improvise” and B2 “Sei mal nur lieb”: on paper they should feel like breathers next to the two behemoths, but they don’t. Offermann crams so much substance and personality into them that they become quietly dangerous. There’s that magical mix of squelchy acid, rough low end and naturalistic melodies on B2, and the relentless emotional drive of A2 “Televise Improvise”. Oskar is really, really good at making dance music irresistible.

Character, skill and honesty in one record, meant for the attentive listener and the brave DJ. A rare combination nowadays, get it fast!

Blue Lake reveals his most ambitious album yet, which finds its visionary creator Jason Dungan harnessing the collective alchemy of his band, with ten spirited tracks that resonate with a powerful directness, evoking an ecological connection to the wider world.

The solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry's 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album 'Sun Arcs' (2023), with its "ornate, zither-led lattices" (Pitchfork, Best New Music). Conceived in the blissful isolation of a Swedish cabin set in the woods, this was music that soundtracked spring in full bloom. Then, in contrast to the solitary approach of 'Sun Arcs', the highly lauded mini-album 'Weft' (2025) began to set the tone for a more band-oriented approach to delivering the Blue Lake sound. Jason had by this time experienced a special collective energy with his band during a swathe of live performances, which he then sought to harness and distill on 'The Animal', leading him to take the project into a traditional recording studio (The Village) and its limitless potential along with his gifted cohorts.

'The Animal' at its core vividly celebrates human collaboration and is deeply rooted in a sense of community and non-hierarchical connectivity. The group's creative alchemy transcends outwards and beyond the musicians performing together, to summon an inclusive, existential and ecological connection to the wider world and its inhabited spaces. The album contemplates the idea of the human as an animal as Dungan explains: "I'm quite fascinated in thinking about humans more as part of the animal environment and not as something that's so separated into a "human" realm, or sitting on top of a hierarchical pyramid. So the Animal is also me, or us - that we are just living, existing, in the same way as a piece of moss or a sparrow or a cow.

'The Animal' is a form of musical metamorphosis, still acoustic, yet more amplified, elevating it to new dimensions. The Blue Lake project takes on a new lease of life to encompass collaboration with Jason Dungan bound in a universal connectivity, resulting in his most ambitious album to date. A harmonious rejoicing that cements his reputation as a transformative presence in contemporary music.

The Tuff Fluff EP from Joe Koshin channels the spirit of classic Tech House while pushing it somewhere new. Bouncy and full of groove, each track brims with fresh ideas and details that give the EP its own unique character. Born from a shared musical connection between Joe and label
head A for Alpha, Tuff Fluff began taking shape a few years back. After patiently waiting, the record now arrives feeling more relevant than ever - vibrant, groovy, and timeless all at once.
Marking the first release on Alpha’s Trip in two years, Tuff Fluff also celebrates the label’s relaunch, complete with a fresh new look crafted by the legendary Pointless Illustrations. It’s the start of an exciting new chapter for the imprint, setting the tone for what’s to come. Rounding out
the release is A for Alpha’s remix, a darker, moodier take built around the unmistakable sound of the Roland SH-101 bassline, whilst lifted with floaty, luscious pads - the perfect counterpoint to Joe’s bright and bouncy originals.

A year after her rebirth on the 2.0 EP, Maedon returns to her Rant & Rave imprint with the intentions of her previous release now distilled and focused into bold new forms. Whereas before the artist was transitioning from her earlier work towards new directions, Matter & Form arrives as an extended concept piece featuring four variations on a bracing, developed sound, an equally impressive remix from Lady Starlight, and a contrasting mix of the opening track. Where 2.0 charted emergence, 'Entelechy I-IV' unites to actualize this potential into a single-minded purpose behind fundamental principles.

Immediately launching into territory her last release only hinted at, 'Entelechy I' is a showcase for her now-mature approach. Her rhythmic dexterity and groove focus remains, with drum programs subtly evolving phrase by phrase, but they now form the basis for layered, complex compositions in a decidedly contemporary vein. 'Entelechy II' shifts focus towards the arrangement while keeping its drums steadily driving, drawing attention to details in its densely designed sounds through deliberate, gradual processing. Relaxing the tempo slightly, 'Entelechy III' fills in the extra space with more dark atmospherics and finely detailed soundscapes, finding a heavy medium between dark ambience and hammering techno. Another deeper effort, 'Entelechy IV' counterbalances insistent, finely-tooled percussive bleeps and equally persistent bass figures against another sweeping bass pulse, at times breaking down into carefully-controlled atonal aggression. Lady Starlight's remix is skeletal in comparison, deploying its parts sequentially over ticker hi hats and a massive kick while using small shifts to incrementally build tension. 'Entelechy I (Bent Mix)' is more accurately described as hellbent, stripping out the original's harmonic elements to grind the heavy rhythmic workout against an unrelenting acid line.

2025 Repress

Chris Stussy makes his long-awaited FUSE debut as he drops the heavily-requested ‘Midtown Playground’, with Huerta joining on remix duties.

It’s rare for an artist to command such intrigue and interest across every single release they line up. Yet, the captivating global gaze around Chris Stussy seems to be snowballing with every unreleased production teased in his ever-impressing sets. Now undeniably one of the scene’s most in-demand names, the humble and hardworking Dutchman has been letting the music do the talking over recent years, with his Up The Stuss project welcoming a new musical focus and providing a platform for him to grow and evolve into an artist at the very top of his game. Not letting up, the surging DJ/producer and label boss now adds another label debut to his catalogue as Enzo Siragusa invites him to his iconic FUSE imprint for the very first time, bringing the release of one of his most requested tracks to date, ‘Midtown Playground’ - with LA-born, Berlin-based DJ, producer and Leisure boss Huerta also making his first appearance on the remix.

From the instantly recognisable synths and lead melody to the skipping percussion and rumbling core bassline, ‘Midtown Playground’ perfectly showcases the sound that Stussy is quickly making his own. The same can be said for ‘From The Delicate Mist Of Morning’, a more subtle but hypnotic offering, while ‘Blueprint’, another unreleased stand-out, offers that commanding yet playful groove he’s become so known and loved for. Delivering his flip of ‘From The Delicate Mist Of Morning’, Huerta dives into a deep, colourful and breezy journey through cosmic spheres, while digital purchasers can enjoy a bonus cut in ‘Mythical Power’ - a warping, jacking and menacing effort built for bustling late hours dancefloors.

LTD Edition Clear Vinyl Version

Arguably one of the most memorable house music moments, born out of the black LGBT scene in Chicago at the legendary Warehouse and known as one of Frankie Knuckles earliest productions; ‘Your Love’ is a stone cold classic. A record that is up there with the greats, instantly recognisable and a song that only get better with time.

Written by Jamie Principle and originally released in 1986, ‘Your Love’ has become a seminal recording over the past 34 years. Originally an underground club anthem, famously borrowed on the crossover hit ‘You’ve Got The Love’ (The Source feat. Candi Staton), and most recently re-produced by as part of the Director’s Cut project which aimed to update a number of classic cuts for the modern dancefloor, this is a record that endures the test of time. Working alongside The Frankie Knuckles Foundation and Eric Kupper, SoSure Music now releases two new remixes for 2020 from Darrius Syrossian and Alan Dixon.

First up, House music aficionado and legendary Sankey’s resident Darius Syrossian offers his unique blend of beats to the remix package. With releases on the likes of Get Physical, Viva Music and Hot Creations, Darius’ production is heavily influenced by some of the greats – think of the finest spinners from Detroit, New York and Chicago – and is well placed to approach this huge task. Darius introduces a rolling house beat and some old skool breakbeats into his mix, keeping the energy high throughout; bringing a feeling of a euphoria and hitting the peak time moment.

Charting a rapid rise through the ranks in a relatively short time Alan Dixon is already building a name for himself in House and Nu Disco scene and has recently released on labels including Glitterbox, Permanent Vacation, Running Back and True Romance. Alan’s remix aims directly at the centre of the disco dancefloor. A strong beat dominates a unique energy through the mix along with a slightly nostalgic vibe. With a beautiful floaty interlude and a raw emotion this remix updates a classic with respect while also giving a fresh new twist.

The legacy of wipE′out′′ has transcended time and cemented itself as a true transgenerational phenomenon. Launched in 1995, it didn’t just revolutionise the gaming industry, it created a bridge between the gaming ecosystem and the raver community. Its futuristic aesthetics and forward-thinking sound left a mark not only on mainstream audiences but also on the most demanding corners of the underground.

Decades later, the game’s impact is still alive. The release in 2023 of The Zero Gravity Soundtrack on Lapsus Records proved once again that wipE′out′′’s accompanying audio will go down in history as much more than just an anti-gravity racing game soundtrack.

This is why we decided to go deeper into the slipstream and build the second volume you’re now holding in your hands. Drawn from the original archives of Tim Wright, aka CoLD SToRAGE, this new collection surfaces unreleased cuts, pieces that couldn’t fit on the first edition, and a suite of self-authored ambient reworks that translate pure velocity into wide-screen atmospherics engineered for the long straights, the drone of airbrakes, the blue hour between checkpoints. It also reconnects the circuit, gathering selections and variants tied to later chapters of the saga — wipE′out′′ HD and wipE′out′′ Pure — plus alternative mixes that, until now, only existed in the Sega Saturn dimension of the franchise.

Finally, the material takes a leap into the future in the hands of four remixers especially chosen for this release: Tim Reaper, SHERELLE, Mantra, and NikNak, who collectively forge links between CoLD SToRAGE’s pioneering musical vision, the sound world of the game, and the contemporary breakbeats and drum & bass vanguard.

Expect the DNA you remember — accelerated breaks, trance-vector synths, jungle influences, sub-bass rumbling neatly beneath the craft’s hull, and at times even echoes of classic hardstyle — now revealed with new angles and air. The previously unheard material carries the same aerodynamic design sense that made these tracks feel faster than the track map itself, while the ambient versions open the field of view with melodies hovering at the lip of overdrive. Without a doubt, here you’ll find a strong sense of nostalgia. But this isn’t just nostalgia; it’s also proof that this sound world continues to evolve when you ease off the throttle.

For the faithful — crate-digging ravers, speed-run obsessives, and design nerds — this is an essential expansion pack: compiling rarities, restoring context, and reframing the emotional core of wipE′out′′ for late nights and early mornings alike. Bridging memory and momentum, club and console, rush and afterglow. Strap in.

Detailed tracklist, with annotations by Tim Wright aka CoLD SToRAGE

· Scratch Pad 1: “This track was composed using incomplete tracks that were developed around the time of the first wipE′out′′. It’s so long because it was used for a marathon-length Psygnosis promotional video.”

· Messij Received: “Messij was a firm favourite with wipE′out′′ fans, so it made sense that there’d be more where that came from — this was one of those re-workings.”

· God’s Gift: “I was always very fond of Erasure’s track Love to Hate You with the canned crowd FX sounds. God’s Gift was a tongue-in-cheek reference to how some musicians think they are just that. This was way before I even played live as CoLD SToRAGE.”

· Tentative: “I wasn’t sure about introducing some wacky beats and distorted sounds into one of the tracks, because it was kinda heading away from the other tracks, hence Tentative — but it turned out OK.”

· Canada 2048: “When wipE′out′′ 2048 was launched I decided to re-make Canada as a kind of tribute, but in a slightly new-tech, laid-back way, using Propellerhead Reason and all software synths.”

· Wiped Out: “Based on a few riffs from a MIDI file unused at the time of the original wipE′out′′ game compositions, this featured on my debut album MELT.”

· Body in Motion (Body Plus Mix): “A more trippy interpretation of Body in Motion that featured on non PlayStation versions of the game e.g. Sega Saturn.”

· Onyx (“Dark Side of the Moon”): “Onyx was my sole contribution to wipE′out′′ Pure on the Sony PSP handheld gaming console. This version was something I developed in a darker style, that eventually erupts into a crescendo.”

· Messij Received (WSTWGBE Mix): “Like I say, Messij was a hit with most wipE′out′′ fans, so when I was asked to compose more music for non-PlayStation versions, I adapted this tune into a parallel-universe version for PC and Sega Saturn. By the way, WSTWGBE refers to Who Said This Was Going To Be Easy?”

· Canada (Drunken Ausländer Mix): “In early 2018 I released a fresh album called Ch'illout′′, a re-working of many of my wipE′out′′ tracks in an ambient, Sunday-morning vibe style — it was a few years’ work, here and there.”

· Tentative (Woffenfum Mix): “Another chilled re-working of one of my wipE′out′′ tracks, the mix named with a nod to a good friend of mine, Carl Woffenden — someone who I've worked with for many years in the games industry.”

· Messij (Bobbing Boat Mix): “A nice cheesy computer blip-blop start belies its deep and upbeat chilled-out melodic finale.”

· Body in Motion (Timeless Techno Mix): “Another classic track given the chilled-out vibe mix, as featured originally on my Ch'illout′′ album. This one’s a really trippy, deep-space take on the original.”

· DOH-T (AM / FM Mix): “The idea with this chilled-out mix was to imagine all the melodic parts of this varied track being broadcast on terrestrial radio, so each theme drifts in and out through the radio static.”

· ’95 Future Echoes: “Originally developed as a companion album for wipE′out′′ HD, this track actually has its roots in a tiny loop of a song that never progressed to anything special back in the mid-’90s when I was composing for the original game.”

· Turbine: “Also from my wipE′out′′ HD album, it leans heavily into the upbeat, uplifting tunes from the original game, but also steals a bit of vibe and energy from The Prodigy, with those distorted flute sounds.”

· Pencil Neck: “This excerpt from my wipE′out′′ HD album features lots of sounds centre-stage and forward from Propellerhead Reason’s Subtractor virtual synth. I learned to love this more than my JD-800!”

· Messij 2005 (New Science Mix): “Yet another take on the track that still raises a smile, this time through a mix of samples from the original and Propellerhead Reason — the ‘new science’ when compared to an Amiga 1200 running Bars and Pipes.”

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

Influences and inspirations come from far and wide. Sometimes they can be household names or pioneers. Other times, they can be lesser-known outfits; less known, but no less influential. Futuro belong to the latter category for Italo Moderni.

Javier and Raúl are two Spanish synthesizer sorcerers who are steeped in the traditions of italo disco and the analogue sounds of the 1980s. While Italo Moderni was still in its infancy, Futuro were a shining light with a young upstart by the name of Adrian Marth even making videos for their tracks. From these beginnings, a mutual respect and friendship developed. Now, the circle is complete with the six tracks making their way onto Accidenti; an EP that marks Futuro’s debut on Italo Moderni.

The collection showcases the breadth of Futuro’s sound. With all instrumentation played through classic analogue machines, the six works journey through neon-streaked city nights, deep uncharted jungle and sun-kissed beaches. Drawing on the music of Rimini, silver screen soundtracks and arcade innocence, this is an EP that remembers and reimagines the 1980s. Intent is immediately set, with the tense and textured “L’assalto” delivering movie score synth stabs alongside crisp percussion. “Matador” is pure elegance, panpipe playfulness countered by glacial refrains and shimmering key shifts. “Iguazu” transports the listener to the wildlife and wilderness of the Amazon; cascading chords glisten as the canopy sings. Futuro takes to the skies with the sonorous swoops of “Il sogno dell’aviatore” before the lovelorn landing of “Fantasma d’amore”, a sumptuous synthesizer serenade of unrequited romance. To close, we’re firmly on the ground for “Sotto le stelle.” Under these sparkling stars, glimmering notes glow with warmth in a finale fitting for such an EP.

And, it is fitting to finally have Futuro on Italo Moderni. A group that has inspired and will continue to do so well into the future. An accidental discovery, mutual respect and a partnership rooted in a love of synthesizers has brought Accidenti into being.

Best Intentions announces Inverse, a new 4-track EP from Melbourne-based producer and DJ; Pugilist, arriving 12 December on digital and limited white-label 12" vinyl. Marking his first release on the London imprint, Inverse sees Pugilist expanding further into the shadowy, percussive terrain he has become known for, merging future-focused techno, lo-fi industrial, and the energy of early hardcore breaks through his own atmospheric lens. The EP captures both the toughness of the dancefloor and the subtle experimentation that runs through his catalogue. A Scottish/Kiwi artist now based in Melbourne, Pugilist has built a reputation for stylistic range and rhythmic depth. His releases on Modern Hypnosis, Samurai Records, and 3024, along with the recent launch of his own imprint Ruff Kutz, demonstrate his ability to move across tempos and moods while maintaining a distinctive sonic identity. On the decks, he is celebrated for tightly curated sets, deep crates, and an array of unreleased dubs. Speaking on joining the Best Intentions roster and the inspiration behind the project, Pugilist shares: "Stoked to be joining the Best Intentions fam with 4 x retro rave rollas across the hardcore continuum, from minimalist Techno, to smoked out Electro, to krusty Hardcore and Breaks. This EP is a mix of styles which have informed my production style over the years. It is great to be putting out music with a shared vision for giving back for a greater cause. I have been a fan of the label since its inception so jumped at the chance to do a 12". I will be donating my share of profits to the Asylum Seeker Resource Centre - a wonderful Melbourne-based charity for asylum seekers here in Naarm. They do wonderful work." The EP's closing track, FKRY, a collaboration with POD, brings warped leads, stepping drum work, and old-school jungle tension into a modern, heavyweight techno frame.

Finally out is this eagerly-awaited release of SUNANDBASS Recordings, Hits Me In Waves EP by Mark System. Friends and close members of the SAB family know it's been brewing for the last decade, appearing in bits in aftermovies and we are beyond excited to now share it with the world.

'Hits Me In Waves' unveils three currents at once, the surging pull of inspiration, the sweep of new love, and the beautiful embrace of La Cinta's waters, all washing over in unison. Thus, each track of the EP explores a wide range of emotions and moods, expressed in multiple styles within drum & bass; the lead single 'On An Island', sets the tone with unmatched sound design, rich musical elements, and raw, uncompromising production. Next comes 'Point Of Reference', built for the dancefloor and eternally young in its refined appeal. 'Celebration' follows, a powerful track that ties the listening journey together, pairing heavy low-end weight with slick musicality to keep it both melodic and full of energy. 'Where's The Dog' stands out for its playability and tough bass synthesis, making it the hardest-hitting cut on the record. Closing the EP is the beautiful and introspective 'Started At The End', a deep dive into Mark's musical mind, offering a classic, emotive finale.

Hits Me In Waves is more than just a collection of tracks, it's a reflection of Mark's long-standing relationship with SUNANDBASS and our shared vision for music that speaks to the soul and stands the test of time. Spanning from Ibiza, this release embodies the SAB spirit: pushing the boundaries of drum & bass while fostering connection through rhythm, movement, and community.

Pharoah Sanders has been described as ‘probably the best tenor player in the world’, emerging as a star from playing saxophone with John Coltrane in the 1960s. As a solo recording artist he is best loved by fusion fans for the jazz dance classic “You’ve Got To Have Freedom”. It’s taken from his 1980 album “Journey To The One” featured here for the first time on the complete side of a 12” single.
“Got To Give It Up” is Pharoah’s outstanding rendition of the Marvin Gaye classic. It has previously been on 7” but never until now in its full length version on 12” single. It was originally a feature on the 1978 album “Love Will Find A Way” produced by Norman Connors. To have both of these masterful recordings on one 12” single is something special.

ULURU is a large sandstone rock formation in Australia. It's sacred to the Anangu, the local Indigenous of the area. For many years it had been deprived of its spiritual significance, due to mass tourism, capitalism, as well as greedy and selfishness of people who just want to make money out of it. However, as a result of the Anangu’s resilience, care and staunchness, huge changes took place in the national park around Uluru as well as in the broader public's consciousness, giving again to the Uluru the sacred identity that had been lost.

You might be reading and thinking now: so what's the point? Actually, there's no real point. I would rather say, there’s hope. The hope of seeing humans all around the world following the example of the Anangu. The hope of seeing humans finally stopping to treat the earth and all what’s part of it, what’s on and what’s in it, as a slave without soul. The hope of changing today, and if not today at latest by tomorrow. This system is failing. It's no longer sustainable, and there's no much time left.

So everybody, don't sleep, be critical.

A time capsule of Long Island boogie-funk history – officially reissued for the first time!


Founded in 1978 in Amityville, Long Island, VAP Records (Virgin Archer Production) became a cult independent label known for its infectious dance grooves, soulful vocals, and DJ-friendly 12” singles that lit up clubs from New York to beyond. Now, for the very first time, the label’s most iconic tracks are compiled on vinyl in one explosive package.
What’s inside?


This “final edition” includes the best of VAP’s rare 1979–1983 output, with tracks from the label’s flagship act Final Edition (“No Limit”, “Betcha Can’t Love Just One”, “We’re Moving On Straight Ahead”), alongside club favorite Broadway – “Let’s Make It”, plus deep gems from Kevin Keys, Jazzee, and Olivia McClurkin.
Why is this essential?


• “Betcha Can’t Love Just One” gained legendary status after appearing on General Hospital and HBO’s How to Make It in America.


• Armand Van Helden’s old-school remake of Final Edition’s B-side “I Can Do It Anyway You Want” went viral, surpassing 10+ million views on YouTube, proving these grooves still ignite dancefloors.


• Original VAP 12” singles are impossible to find and often sell for hundreds of dollars. This reissue brings those classics back, mastered from the original tapes.


Collectors, DJs, and boogie enthusiasts – this one is for you. With its blend of raw disco energy, soul-drenched vocals, and timeless funk, Best of VAP Records – Final Edition is not just a compilation, but a celebration of a family-run label whose legacy shaped the underground dance scene.

2025 Repress

Eric Cloutier launched Palinoia three years ago with an EP from himself, and now he's back on his own imprint for the first solo production since then. His new EP combines the three sounds he's know for - "Apeirophobia" is a heady roller that takes a solid twist halfway through, "Eleutheromania" is a dubby jam that was inspired by listening to (and owning) a LOT of Sterac / Steve Rachmad records, and, rounding it out, "Madrugada" is a deep and etherial house groove that lends itself more towards my monthly DOWN here in Berlin than the jacking beats most people equate my sound with.

First Contact features CROÍ, Lukey, KAIR, Sahm, and HVSN. Our first release is a compilation of tracks that we’ve been collecting and to seize all the styles and genres which we will deal with in the future.

‘First Contact’ is the first song of the VA, opening with an invitation with a combination of a nostalgic ambience followed by the drums that go along with the vocals pointing to the start for our journey. In Irish, the word "CROÍ" (pronounced KREE) means "heart". ‘Target Lock’ from Lukey, is a track that will definitely surprise you. This song is meant to push you back to the dance floor with a feeling which you don’t get very often from listening to these kinds of songs. Everything is cool with ‘Target Lock’, drums, nice trippy vibes, and how the bass fits there… You should be blown away by this song. In a real old school style! Lukey has previously caught the eye of industry labels like Hot Creations, also his release on Carpet & Snares Records, Into The Wizard's Sleeve, The Void Project was hammered by some of the great DJ’s in the world.

KAIR introduces himself to us in his own way with ‘Let's Get it!’ Because this bomb won’t fail to make you dance and feel good! It’s pure house and joyful music that makes you dance and get lost within the music. Also, ‘Let's Get it!’ is just a preview of the upcoming EP. ‘Rainbown’ is a track which shows us that Sahm knows how to come out with a brilliant house track. A groovy old school house with heavy percussion, comes from a young talented producer from Brazil! This will be the track that you’ll be playing years from now on. And ‘Bust This’, you will hear among the bass, the claps and drums, a high energy that will make you move your body. HVSN presents his vision of how to bring the right emotions of a dance floor full of energy and the connection between the bass, synth, drums and melody is back!

Enjoy, This Is Real Talks Records.

VA – First Contact RTR001 incl CROÍ, Lukey, KAIR, Sahm, HVSN

Following the acclaimed reissue of Sa Discossa earlier this year, Jo Tongo's third solo album Those Flowers returns to the spotlight.

Originally released just a year and a half after Sa Discossa, this 1982 gem came out on the small Context label and, in Tongo's own words, the two records are "like twins." Recorded with many of the same musicians, Those Flowers continues the vibrant fusion of disco-funk and reggae - this time dedicating one side to each, leaning slightly more into his Western influences.

But there's more than groove beneath the surface. Tracks like "People Need Peace" and "We Human Beings" channel his enduring themes of resistance, identity, and freedom. The synthesizer at the beginning of the song mimics the ominous drone of warplanes, and lyrics speak directly to global struggles - reminders that his music is both deeply personal and powerfully political. "I paid for these ideals in my career," Tongo reflects, alluding to the personal costs of his outspoken stance against colonialism and injustice.

Still, Those Flowers carries joy at its heart. Songs like "Ain't No Man Like A Real Friend" celebrate trust and loyalty, while the title track offers a tender ode to love and kindness - "picking flowers from the soul," as Tongo puts it. These songs reveal the inner world of a man who has always viewed music as a mirror of life.

This reissue marks the second installment in the African Edge series from The Outer Edge label. Fully restored and remastered, Those Flowers is now set to bloom again - another vital chapter in the legacy of Jo Tongo.

After years of shaping the UK underground from behind the scenes, Alex Nut steps out with his first official solo EP, serving up an intoxicating blend of Spiritual Jazz, Deep House, Dub, Hip Hop and analog electronics. The Present Under Construction EP is rooted in a deep musical language and future-facing energy, it captures a moment of creative transformation and exploration.
Built up over a few years from rough sketches made on an old MPC2000XL, the tracks were revisited, reshaped and eventually brought to life in the studio with longtime friend and collaborator Sam Crowe (Cleo Sol, Lianne La Havas). Together, they added a range of analogue sounds using the Dave Smith Prophet Rev 2, a Fender Rhodes, and a Moog Sub 37. Those recordings were then chopped, resampled, and restructured into the versions you hear on the record today. The records lead track 'andthenitstarted' features saxophonist James Mollison (Ezra Collective, Nala Sinephro) and includes remixes from Detroit House legend Patrice Scott and fellow Eglo Records alumni Last Nubian.

Best known as a DJ, broadcaster, curator and co-founder of Eglo Records, Alex has spent over a decade championing soulful underground music, through fabled Radio shows to legendary club nights, his fingerprints are all over a scene that continues to evolve. Initially making noise alongside the likes of Floating Points, Steven Julien, and Fatima, Alex Nut has long been a cornerstone of the UK's soulful underground. His work continues to champion the evolution of Jazz, Soul, House, and Broken Beat — nurturing a generation of artists now reshaping the global soundscape.

Pressed on 140 gram 10”.

D.D. Mirage return with new single “Echoes”, a lovers meditation featuring North Carolina’s Teddy Bryant, who delivers a velvet vocal performance steeped in yearning and late night reverie. The chorus “the things you do for love echo in my mind all night” hits the melancholy sweet spot, wrapped in the rich and authentically 80s sounding production we’ve come to expect from D.D. Mirage.

The Sydney based duo, now expanded into a full four piece live band, continue to stretch their sound beyond the Balearic and Dub tinted palette of their debut Exotic Illusions released earlier this year. With production assistance from Jono Ma, they capture a lush, cinematic space where street soul sentiment meets modern dream pop psychedelia, the kind of record that slips perfectly between Sade, Tom Tom Club and a lost Compass Point B-side. Flip the record for the Introspective Dub: a drifting, dubbed out companion that strips back the vocal to its echoes and lets the rhythm bloom.

Following live appearances at Dark Mofo and SXSW Sydney in 2025, D.D. Mirage round off the year with a live performance at Victoria’s Strawberry Fields festival mid November.

artwork and sticker by Bradley Pinkerton.

Six years after Nazamba’s first offering, he delivers his final gift: A Message From Zion.

The journey begins with George ’Nazamba’ and Rico ‘O.B.F’, two kindred spirits connected by sound. Countless cross-ocean visits between Kingston and the French Alps, from enjoying hot beers on the beach to reasonings in snowy mountains. Moments that forged a pure brotherhood.

Out of this friendship grew his first album, the self-titled Nazamba in 2019. Now comes his second, a collaboration between Thompson Sound and Dubquake Records. Together, they unite two generations of reggae powerhouses. Produced by Rico O.B.F, the record reimagines classic Thompson Sound gems. Nazamba’s musical storytelling is accompanied by the Roots Radics, with guest appearances from Linval Thompson & Barrington Levy.

Then came silence. In 2022, Nazamba passed on to Zion. The album project was unfinished, yet full of life. What remains is raw, unpolished and painfully beautiful.

A Message From Zion, a celebration of Nazamba’s universe. His voice, wisdom, poetry, heart and spirit. Forward we ah go. Ah true.

British-Brazilian jungle artist Janaway announces his brand new EP International Luv via Up Ya Archives Records.

‘50/50 Vision’ is the defining statement of Janaway’s upcoming EP, a single that captures the project’s full essence in one. Blending pulsing jungle rhythms with the rich textures of Brazilian vocals, together, with his UK-centric underground lens, he creates this rolling, dancefloor-ready track that bridges continents and culture.

The title, a play on “20/20 vision,” reflects Janaway’s experience as a dual-heritage artist who views each of his cultures from a balanced perspective. This sense of duality runs throughout his work, expressed through a distinctive fusion of sounds, stories, and collaborations that mirror his own world. The accompanying visuals deepen this connection, featuring Janaway alongside his collaborators and friends, not only adding a personal and authentic layer but providing a snapshot of the community that shapes his music.

‘50/50 Vision’ is a collaboration with two incredible artists that represent each side of his heritage. MC Tchelinho’s (Rio’s Heavy Baile collective), dynamic flow injects raw Brazilian energy and is enhanced by Arinola’s signature mix of UK funk and Ragga vocals which layer in an infectious groove. Together, they create a dynamic intersection of contrasting sound that feels both global and grounded - full of rhythm, movement and connection.

Growing up between cultures, Janaway has always gravitated toward sounds without borders. Now based in Bristol, he’s part of the new wave pushing jungle forward while keeping its essence alive. His signature blend of heavyweight basslines and sharp breakbeats has earned support from Nia Archives, Tim Reaper, Sherelle and Fracture. His acclaimed high-octane DJ sets packed with unreleased tracks, move effortlessly through jungle, footwork, and jungle funk, keeping crowds locked in and dancefloors moving. After a European tour and standout appearances at Boomtown, Glastonbury, and Outlook Festival, Janaway is fast becoming one of the most exciting names shaping the next gen of jungle.

Vel initiates the «Cuddle Protocol», her first ambient album, set for release on October 17, 2025 on PURR.


Vel, recognized for her striking presence in the contemporary techno scene, steps into new territory with the release of her first ambient album, Cuddle Protocol (P:\URR(3)_Cuddle_Protocol), the third outing on her own label PURR. Out October 17, 2025, the 9-track record is a personal and intimate statement, delivered on vinyl and digital formats.


With Cuddle Protocol, Vel explores the paradox of intimacy in a coded world. “I like the idea of a protocol for softness,” she explains, “of codifying something that should be intimate and spontaneous.” This tension runs through the album: fragile voices and soft layers unfold against serious, carefully structured arrangements, balancing tenderness with rigor.


Ambient music has always been Vel’s “first love.” Before producing techno, she composed ambient exclusively, and this album marks a return to the form in its most sincere expression. “I know this music will follow me all my life. It’s not a phase. It’s how I express myself most truthfully.”
Cuddle Protocol is about slowing down, embracing sincerity, and reaching for deeper connection. “When I listen to ambient, I access another world. It’s charged with emotion, it makes me drift and forget everything. That’s the feeling I wanted to share.”
Mastering: Sixbitdeep / Artwork: Adone Giuntini

Bait revisits Trois-Quarts Taxi System's 'Plexus' for its next outing. The label's first long-player was a benchmark in meditative experimentation that now comes as a new remix package which brings together pioneers and forward-thinking voices to reinterpret the album's deep, exploratory spirit. Label head Beatrice M. opens with 'Coma' a warm nod to old-school sensibilities, while Herbalistek submerges us in the shadowy textures of 'Spectre.' Pinch delivers a moody steppers twist on 'Sonar' and Katatonic Silentio sharpens 'Plexus 3' into abrasive and physical rhythm. Together, these reworks stretch the original visions further outward into new realms.

DJ Support: Raresh, Marco Corola, Jamie Jones, Joseph Capriati, Chris Stussy, DJ Seinfeld, D'Julz, Djebali, Voigtmann, Arapu

For Amsterdam’s Julian Anthony, club culture has always been about movement - between sounds, between scenes, and increasingly, across continents. Rooted in the Dutch underground, his path has taken him from intimate local spaces to international stages, with appearances at institutions such as Berlin’s Hoppetosse, Ibiza’s DC10, and London’s fabric. Along the way, he’s formed close ties with crews such as Slapfunk, VBX, Half Baked, and S.A.S.H, while recent tours across South America and Australia have further widened his reach. His connection with Enzo Siragusa and the FUSE family is longstanding, having previously dropped his track ‘It’s Showtime’ on sister label LOCUS while making appearances at both FUSE and LOCUS events across Europe, including this year at FUSE Malta, during ADE, and November’s fabric takeover. Now, his ‘Missing Pieces’ EP extends that relationship further, marking his fi rst release on FUSE and off ering a natural progression while showcasing his versatility as a producer.

In his productions and his sets, Julian threads together house, techno, and electro infl uences with a playful touch, resulting in a style that feels fl uid yet sharply defi ned. Title track, ‘Missing Pieces’, sets the tone with a heavyweight bassline at its core, coupled with a hypnotic groove and percussive drive, while ‘Endless Echoes’ stretches into more atmospheric territory, weaving rolling rhythms with cosmic textures. On the fl ip, ‘No Sleep’ ups the intensity with zipping synths and sharp drum programming built for peak-time play, before ‘TTS’ closes the record on a captivating note, fusing deeper house nuances and playful rhythms into a late-night trip.

With a growing catalogue across respected imprints such as Dungeon Meat, X-Kalay, and Bee You, and a touring schedule that continues to expand globally, Julian’s first outing for the London favourites highlights his talent for crafting tracks that are simultaneously precise, playful, and built for the club.

Sciahri and his label Sublunar are proud to present the second chapter of the "Veil of Echoes" project, a continuation of a journey that connects emerging and established artists from the label.
Following the vision introduced in the first volume, this release unveils a new dimension of techno and electronic music, merging timeless roots with forward-thinking sound design.

The trip begins with "Voltages" by Cirkle, a sharp and direct cut built for the floor, followed by "Tides" by Red Rooms, an hypnotic journey driven by an entrancing vocal hook.
"Phonolith" by Border One brings a mental and groovy touch, while "Basic Instinct" by Hemka stands out for its captivating arrangement and refined sound design.
The first record closes with "Your Hands Forget Their Shapes" by Hadone, a truly memorable track destined to stand the test of time.

The second record opens with "The Radius" by Temudo, one of his most acclaimed digital tracks now available for the first time on vinyl, followed by "Etched" by Hurdslenk, a powerful and driving piece of precision techno.
Next comes "Nardo" by Pierre, a modern, groove-heavy weapon with a distinctive sound identity, and "Serpents" by Ketch & Alessio Landini, a hypnotic and tribal tool for any moment of the set.
Closing the journey, "Zone 0" by Danya delivers a mystical and immersive ending that transports the listener into another dimension.

With "Veil of Echoes II," Sublunar presents a visionary collection that captures the essence of techno and electronic music, bridging its past influences with the sound of the future.

Der legendäre Frank Sinatra (1915 - 1998) war zweifellos einer der größten Sänger aller Zeiten. Diese großartige Sammlung präsentiert 75 Highlights aus seiner Karriere begleitet von herausragenden Orchestern unter der Leitung von wichtigen Persönlichkeiten wie unter anderem Nelson Riddle, Gordon Jenkins, Billy May, Sy Oliver und Don Costa. Die erste CD zeigt The Voice in seiner schwungvollsten Stimmung, während sich die zweite einigen seiner besten Balladeninterpretationen widmet und die dritte schließlich Songs aus berühmten Filmen kompiliert, von denen er in vielen auch die Hauptrollen spielte.

After a prolific run of off-centre house and acidic, proggy-techno on his new Globuli label, respected Germany based Brit Ed Davenport delivers the first instalment of GLOBULI LTD with 2 stand-out remixes.

Picking up heavy support from Massimiliano Pagliara, Ivan Smagghe, Call Super and the like, these two iconic remixes from the catalogue are now available on vinyl for the first time.

Claude VonStroke makes long-awaited Crosstown Rebels debut with ‘Noche Clara’, featuring Honeycomb. A full-circle moment between two house music icons finally comes to fruition, with the two-tracker out on 5th December 2025.

Two decades after label founder Damian Lazarus first booked him to play in the UK, American electronic icon Claude VonStroke finally lands on Crosstown Rebels with ‘Noche Clara’ - a release that bridges friendship, history, and the enduring spirit of the global underground. Built around hazy tones, captivating synth melodies, and sweeping atmospherics, ‘Noche Clara’ captures the playful minimalism and late-night atmosphere that defi ned his early work. On the flip, ‘Bam Bam’ layers warped vocals over a trippy off kilter sonics and a tunnelling, hypnotic groove, providing a haunting and commanding deep dive into the late-night hours. A collaboration with beatboxer, producer, DJ, and instrumentalist Honeycomb, who recently toured with The Floozies and Dirtwire, the link-up came naturally following a joint appearance between the pair at California’s infamous Zenyara, plus multiple Dirtybird festival appearances and more.

A true maverick of modern dance music, Claude VonStroke has spent over two decades shaping the sound and culture of house. From founding the iconic Dirtybird label, home to artists like Fisher, Eats Everything, and Catz ‘n Dogz, to headlining the world’s most respected clubs and festivals, his legacy is built on connection, humour, and an unfiltered love of the dancefloor. Now exploring more underground and experimental sounds, VonStroke is entering a new creative chapter ahead of his forthcoming artist album in early 2026 - a shift perfectly exemplified by this impressive debut on Crosstown.

'Yara Asmar’s new album presents 11 pieces recorded over the past year between the small town of Alfred in upstate New York and Beirut. These sometimes fragile and tentative sound sketches reflect the times as Yara steps out, as if onto ice, into a new life on a new continent during a time of tragedy, turmoil and upheaval. She works with unfamiliar instruments, new materials and new sounds to build on her intimate style; homemade mechanical music boxes and a personal archive of family recordings form the backbone of its delicate textures. Asmar explores the peculiar resonance of the metallophone and her collection of deconstructed toy pianos, and guides her music into ever more surreal territories. The result is a work that is dreamlike, fragmentary and strangely timeless.'

Three decades on from its original 1995 release, Todd Terry’s 'Devil’s Dance' still burns with the kind of manic, floor-filling energy that defined the early years of Hard Times. Now, Todd and the label return to the track, inviting a trio of today’s most vital club architects to rework one of Todd's most incendiary productions for a new generation of dancers.

Following a year that saw Chris Stussy and Dan Shake breathe new life into 'Bounce to the Beat,' Hard Times closes out 2025 with 'Devil’s Dance (Remixes),’ a collection that bridges old-school grit and new-school heat. Rossi., Demi Riquísimo, and Cinthie each bring their own distinct combustion to Todd’s iconic organ riffs and bulbous bassline, reframing the track through London, Berlin, and Balearic prisms.

Rossi. leans into the city that raised him: “It’s been a real pleasure to remix such an iconic inspiration for me as an artist. Todd is a legend and part of the reason why we have the culture of music we have today. I wanted to bring my remix back to my London roots - a UKG skippy, warpy approach that still carries those iconic chord riffs.”

On 9th December Modern Obscure Music presents Cascades, the new album from Pedro Vian & Mana, which premiered during their immersive live set at the most recent Sonar Festival in Barcelona.
Cascades was recorded over a three-day studio session in Turin during the winter months, which is reflected in the musical narrative, as the eleven tracks flow gently like an icy river, filled with a mixture
of hazy melancholy, uncanny dream-states and euphoria.
Various recording techniques and instrumentation was utilised, including the Lyra-8 organismic analogue synthesiser, which takes principles from living organisms to produce sounds resembling a
conversation between nature and technology. The result is a spellbinding ambient odyssey that features a luminous synthesis of neo-classical strings and orchestral drones, together with strange
voices, and abstract passages designed to evoke Dante’s Inferno, which represent the soul’s journey.
Pedro Vian is a renowned Catalan artist who has released three solo albums (Beautiful Things You Left Us For Memories, Pedro Vian and Ibillorca) and a collection of singles on his Modern Obscure
Music imprint – a multi-disciplinary platform based on deep listening and music research. The ‘PRSNT’ compilation, which Pedro curated in 2021 and featured Laurie Spiegel, Ryuichi Sakamoto, and Visible Cloaks, received support from Pitchfork, Crack, Brooklyn Vegan, The Quietus, The Wire and Metal. Pedro has been remixed by Inga Copeland and Pye Corner Audio, and has recorded mixes for of Bleep, Self-Titled and Juno Daily.
As part of a new generation of Italian electronic music artists, Piedmont born composer and producer Mana has released two full length albums (Seven Steps Behind and Asa Nisi Masa) on Kode 9's
Hyperdub imprint, plus an EP on Nicolas Jaar's Other People label under his Vaghe Stelle alias.
Earlier in his musical journey, Mana supported Laurent Garnier, James Holden and Skream across the Torino club scene, and in 2011 teamed up with Italian friends Lorenzo Senni and A:RA to form
the experimental group One Circle.
Pedro Vian & Mana’s previous work as solo producers has pushed the limits of electronic music, and together they’ve garnered critical acclaim from the likes of Pitchfork, The Quietus, The Vinyl
Factory, Resident Advisor and more. They now join forces to traverse new sonic territories between electronica, ambient, drone, and trance-inducing soundscapes.

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

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

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

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

In 1978 a newly formed Augusta, Georgia group Marshall, Donovan and Broomfield chose to record cover versions of two songs previously recorded in 1973 and 1974 respectively by Florida siblings group Cornelius Brothers and Sister Rose. These Eddie Cornelius penned songs “Let me Down Easy” and “Since I Found My Baby” would form both sides of Marshall, Donovan and Broomfield’s first 45 single, released on group founder John Marshall’s own Augusta label. The flipside “Since I Found My Baby” would eventually gain popularity across the pond with aficionados of the UK modern soul scene of the early 1980’s and beyond.

John Marshall began his musical career in a high school group called The Fabulous Gardenias who recorded the doowop ballad “It’s You, You, You” backed with the up-tempo R n B mover “What’s The Matter With Me” released on Tommy Brown’s local Liz label (named after his wife future Motown recording artist, Liz Lands) in 1961.The Fabulous Gardenias featured John Marshall, the late Atlanta alumni Calvin Arnold, “Little” Joe Jones Jr (later of the Tams) and a fourth guy only remembered as Harold. John Marshall later sang with another Atlanta group The Tams of “Hey Girl Don’t Bother Me” fame from 1970 through to 1978.

Later in 1978, John Marshall having relocated to Augusta, GA the previous year was casually emptying the contents of his mailbox outside his home when a car suddenly pulled up. The driver called out “Hey I recognize you, you’re John Marshall you used to be with the Tams!” The driver continued to introduce himself as John Donovan stating that he too was a singer, followed by an impromptu performance, and hey! sure enough he could sing! A later introduction to Charles Broomfield (John Marshall’s next-door neighbour at that time) would lead to the formation of the group Marshall, Donovan, Broomfield with the addition of Mary Marshall and Pat Donavan (the then, two John’s respective wives) as backing vocalists. The previously mentioned group’s first release the John Donovan led “Let Me Down Easy/Since I Found My Baby” was recorded at the now defunct Jam Studio’s in Atlanta. Upon release, the “Let Me Down Easy “side received considerable local radio play but only led to the group performing a handful of local shows. On the strength of the group’s first release a second 45 release followed in 1980 “Let’s Dance/That’s Love” both sides of this 45 were penned by Charlston, South Carolina native, Harold Thomas who John Marshall knew from his time with the Tams, Thomas having once been part of Bill Pinkney &the Original Drifters and later the Tams management teams. This second 45 never gained the same local attention of “Let Me Down Easy” and after three years together the Marshall’s, Donovan’s and Charles Broomfield went their separate ways. John Marshall lost contact altogether with his former group members and left the music business taking up employment at International Paper Mill until his retirement in 2013.

Due to the current resurgence in popularity of “Since I Found My Baby” with copies regularly selling for four figure sums, Soul Junction have reacquainted ourselves with John Marshall to you bring you “Since I Found My Baby” backed with “Let Me Down Easy” with the addition of the excellent and lesser, known stepper “That’ Love” making this an excellent value 45 release.