Поиск:own this

Soul Jazz Records’ long out of print classic ‘Studio One Funk’ collection is being re-released in three new one-off limited-edition coloured pressing 18th anniversary format editions!
Firstly, a heavyweight special limited edition one-pressing only red 2xLP vinyl + download. Secondly, there is also a new special limited-edition one-off pressing edition red-pressed CD enclosed in jewel case and slipcase. And thirdly there is a very limited unique new one-off pressing red-cased cassette format (200 copies only)! 18 years on from its original release Studio One Funk remains one of our Studio One releases most in-demand titles and like all our earlier special coloured editions is sure to sell out fast!
Studio One Funk is made up of rare and unreleased Reggae Funk from the vaults of Studio One. Ever since the birth of Funk in America, the sound has been an ever-present ingredient in the melting pot of Studio One’s musical output.
The music on this release is a combination of originals, US covers and versions of existing Studio One cuts. Jackie Mittoo shows his appreciation for Booker T and The MGs, the studio group at Memphis’ famous Stax Records with ‘Hang Em High’, itself a cover of a film soundtrack by Dominic Frontiere. Incredibly this version has never before been released. Booker T’s super-funky ‘Melting Pot’ is also covered by the little-known Underground Vegetables.
Other versions include Isaac Hayes’ classic Blaxploitation soundtrack ‘Shaft’ again by Cedric Im Brooks track - another unreleased gem, straight from the tape master. Motown gets a look in with Alton’s stripped-down version of the Spinners classic ‘It’s A Shame’, written by Stevie Wonder and Syreeta.
James Brown is apparent in spirit with the JBs-inspired groove on the super rare cut “Now” by Lee Arab. Lloyd Williams similarly does a fine Kingston-style version of the hardest-working man in showbusiness on ‘Reggae Feet’.
Version-wise, we have ‘Idleberg’, Cedric Im Brooks tough instrumental cut on Horace Andy’s seminal ‘Skylarking’. The little-known Prince Moonie gives us a rare DJ cut of another Horace Andy classic, ‘See A Man’s Face’.
Pablove Black’s cut of Sidewalk Doctor (A/K/A Poco Tempo) is one of a handful of Studio One releases featuring Augustus Pablo’s trademark instrument, the melodica, played by Black himself.
Add to these original cuts from Studio One’s heavyweight session players including Leroy Sibbles, Jackie Mittoo, Leroy Sibbles, Eric Frater, Leroy ‘Horsemouth’ Wallace, Richard Ace, Vin Gordon and more and you have one of the finest selections of reggae and funk you will ever hear.







"This collection goes deep into the Brentford Road vaults and unearths a rake of previously unreleased gems alongside hard to find classics. Heavy and inspirational, totally unique and essentially timeless." Straight No Chaser
"An absolute treasure trove for the collector as well as being great for the ears and feet. Jackie Mittoo's 'Hang Em High' is worth the price of the album on its own." Echoes
"A superb collection that shows how much many Jamaican musicians were influenced by the heavy funk belting out of American studios from the early seventies onwards.” Touch
"The most satisfying listening experience so far in the Studio One series." The Wire
"Rare and unreleased grooves from Jamaica's house of excellence." Mojo

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Repress!

Limited edition yellow vinyl pressing of this 50th birthday celebration for an influential slice of soul. A 7” remastered, reissue of Minnie Riperton’s iconic, majestic and much sampled ‘Les Fleur’.

Favoured by the likes of Jurassic 5, Damu The Fudgemunk & Cut Chemist, famously covered by Dego and backed with the equally serene ‘Oh By The Way’.

With original copies selling for upwards of £60+ here’s a chance to own this slice of soul perfection at a fraction of the price.

House favourites Kai Alce, JKriv, Sean McCabe and Medlar debut on Universo Positivo with their masterful reworks from Universo Positivo’s catalog. After two years of agenda-setting sounds, the label is set to drop this classy remix EP, and in that time, founder Joseph Salvador has established the label with a mix of his own music and fresh grooves from carefully A&R’d pioneers and new school names. He has been doing much the same since the 90s with various projects from his cult TINK Records and the Tomorrow Is Now Kid! nights in Amsterdam, in collaborative production outfits like Black Tulip & Wendell Morrison, and releasing records by DJ Steaw, Malin Genie, Fabio Monesi and more. This latest release brings together some of the most respected names in the scene for four standout reworks.

First up, Atlanta-based NDATL label head Kai Alce, who has long been one of deep house's most influential architects. He flips 'Sonido Latino' into a smooth groove with jazzy, Roy Ayers-style melodies that bring a soft-focus glow and late-night intimacy. Then comes Bristol-based don Sean McCabe, a master of vintage synths with a 20-year back catalogue on seminal labels like Local Talk, Strictly Rhythm and Z Records. His take on 'Ipanema Jazz' maintains the original's samba shuffle but reframes it in a deep house groove with extra expressive jazz keys, dainty chords and playful trumpet motifs.

Brooklyn-based groove architect and Razor-N-Tape co-founder JKriv brings his many years of experience as a guitarist, producer and songwriter to his take on 'Caparica Sunset'. It's a deep, driving sound that's playful and romantic with flirtatious horns and soft acid, dusty breakbeats and luscious grooves for loved-up good time sessions. Last but never least, is Medlar, the South London underground maverick with a wide-ranging sound and album credits on the likes of the hallowed Delusions Of Grandeur. He remixes 'U R The Revolution' into a warm, euphoric rush of throwback house that's warm, melodic and sure to get the floor going right off.

Shape of the Moon is the California based duo of Benjamin Burke and Bear Glass that explores existential headspaces beyond mundane frames of thought. Following streams of consciousness that contemplate the stardust that forms us to the very first human sound that reverberated through a cave, Shape of the Moon intertwines language and music into ambient dream-weaving narratives.

When the land is laid bare forms a collection of recordings composed of Burke reciting his introspective poems and Glass improvising gripping modular synth and string patterns. Burke brings a wealth of experience working between an impressively vast range of written and visual mediums to Glass’s live electronics and acoustic instrumentation mirroring the spoken word. The pieces on the album consist of excerpts from live outdoor performances under the night sky in the Mojave desert as well as sessions in Glass’s off-grid solar powered studio. Burke drapes vivid vocal narration over deeply immersive textures and melodies conjured up by Glass on Buchla, bass and sitar, painting peaks and valleys that live score the storytelling. The duo tread their own path fusing poetry with undulating electroacoustic instrumentals, arriving at meditative and ASMR territories that draw inspiration from ambient and electronica. Often joined on stage by guest musicians playing anything from Rhodes, percussion, jaw harp and saxophone, the recordings edge towards blues and spiritual jazz.

Benjamin Burke is a poet, writer, performer, and visual artist who spends his time lending a hand to unusual artistic expeditions around the world. Most recently, he helped to launch Dhun and Dhun School, a humanist eco-township and progressive education center on a 500 acre biopreserve in Rajasthan, India. He has written and performed countless unusual shows, experimenting widely and, through that, witnessing firsthand what makes ideas resonate for his audiences. This work evolved over time into an approach he refers to as Applied Poetics which he employs to help communities set intentions, scientists present their findings, and humanitarian organizations find their footing.

Bear Glass is a sound artist, multi-instrumentalist, music teacher, live sound engineer, and founding member of Mobius Acoustics who build innovative sound systems and host events on the West Coast (utilizing a quadraphonic setup for live performances and immersive drone bath sessions). Glass is involved in various collaborative projects with a couple of releases under different pseudonyms as well as a solo tape featuring a track with prolific producer Carlos Niño. For most of the year, Glass lives sustainably off-grid with his family on a plot of land outside Joshua Tree, a mini utopia infamous for his well curated private campouts and artist residencies. Wide skies, magnificent climates, and being surrounded by the love of family and friends inform Bear’s musical output and artistic practice.

Shape of the Moon present their debut album for Marionette’s 30th title, channeling an inquisitive yet playful state of mind that marvels at the mysteries of the universe.

Bassmæssage is the oldest and most consistent bass night in Leipzig Germoany, pushing local soundsystem culture and grass roots artivism. We are about to welcome a fresh release "for all who like it low and want it vibrant"!

After two installments of bass-heavy multi-genre various-BPM grooves on Volume One in 2015 and on Second Drop in 2023 here comes the full triplet in this line of bass music vinyl compilations featuring acts who have been mÊssaging our nights. This time on Threenity, one side side is running garagewise 130, flipped by a more dubsteppish 140 area, all drowning in dark sinister midranges, mindful drum programmings and heavy-weight lows for huge speakers, to be released around 9th May 2026 on a 2 floor DIY soundsystem night in Connewitz!

Opening with genre wizzard LUI from Leipzig, showing how dirty and fonkey a garage bit can actually go. Bricks of beats on a fundament of nasty bass concrete, roofed by a vast selection of uplifting samples are vibing for sure.
Trainsient is the deep bass moniker of Leipzig's Plastiks running DDNBC, delivering a heavy tribal statement of a lost place of a deep grime, overgrown with flutey leaves and dreamy synth lianes hiding da moddership.
Psionide from Dresden with estonian roots is celebrating a vinyl debut with a slow-jungle dream-breaks bit between retro and future, braindance and dance, listening and bassline coaster.
Son du Maquis outa Toulouse sneaks in low in a classic dubstep manner, only to drop the lowest wobble possible right throughout the ride.
Miles Won transmitting from Plugwhiz, nails headnodding with his beat writing skills. Where bass meets hip hop, the grass has never been greener.
Finally, veteran like Dub Across Borders cabling from Copenhagen is delivering the contemplating outro: a melancholic 140 halftime not only to send you home but right into the night sky.

These six peaces are found on a heavy cut vinyl, ready to shake your system. As bonus there is another papercraft Basstelbogen cover, which lets you build your own BM logo and a 1:3 ratio record player on top. Mach's mit, mach's nach, mach's b‰sser!

On her second album, Sawt El Doumouh (The Sound of Tears), Beirut-based Sandy Chamoun summons flickers of light from sadness. Influences from the Arabic tradition of Tarab – one of the first styles Chamoun learnt to sing – and polyphonic Cantu are reinterpreted and reimagined through her voice and electronics, synths from her SANAM and Ghadr bandmate Anthony Sayhoun, and live percussion from Ali Hout.
Marked by its times, the record isn’t what Chamoun had planned. “I wrote the lyrics between October 2023 and September 2025,” she explains. “The plan was to write about nature, since the album’s concept was inspired by Cantu, a tenor Sardinian ritual that celebrates humanity’s victory over nature. I intended to visit several places and regions in Lebanon and write a track for each, but after the genocide and the war in Lebanon, everything changed.”
“I chose the title because many mornings during this period I woke up crying silently. I remember a dark story from school: a teacher yelled at a small boy while he was crying and told him to cry without making any sound. I feel we are still living in that condition in the region — forced to die or suffer without making any noise.”
Sawt El Doumouh is a gorgeous refusal to be silent. It opens with a booming drum. Over keening autotune Chamoun’s pure voice cuts through, burying the despair to illuminate rays of hope. On “Ward W Shok” a shuffling swing gives way to a righteous organ interlude. The title track sees a choir of Chamoun’s vocals lull and lap. Drums arrive and indignation stirs, what’s mournful begins to stride.
Chamoun’s tracks are as beautiful as they are defiant. Why write songs in the face of horror? Perhaps because music can hold onto something better. By turning to song, Chamoun catches the hopeful glints and sparks that persist and strive outside the terror. In SANAM and Ghadr she often borrows lyrics from Arabic writers through the centuries, listening to what their words say in the present while reminding us the world can and has been different to how it is now. Solo she writes her own words, and the way her songs alternately soar and sigh evokes hopeful pluralities and suggestions of other, kinder realities. Even hearing someone cry is a connection to humanity.
It’s a possibility conveyed in the album’s most jubilant moments. “Shahed” is an incandescent dance of percussion and levitating synths. “I wrote it after I saw a photo of a small boy on a horse on the beach in Gaza,” Chamoun recalls. “I imagined a fantasy where the boy lives in the water and watches the terrifying reality on the shore, trying to bring water to put out the fire. Shahed is the witness who lives far from the shore, enjoying the water and trying to help. You can hear this duality: the percussion is desert-like, while the vocals and synths evoke the feeling of water.”
Although it comes from darkness, in Chamoun’s music we can hear faith in something beyond it.

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

"I decided to just let myself go," Zzzahara says of their new record, 'Spiral Your Way Out' "I think I finally came to this acceptance that I don't have to be perfect. I want to be a good role model to my fans and stuff like that, but I also don't want to hide who I am." Zzzahara's music wades into the deep waters of love, lust, and self-discovery in a part of the world where artifice and authenticity co-exist. Emerging from the heart of LA's alternative music scene, their sound is raw in feeling and rebellious by nature.

Their 2022 debut album, Liminal Spaces, chronicles a coming- of- age in Highland Park, following painful childhood memories through to late- night, live- fast coping mechanisms, and the changes the neighbourhood has endured over the same period of time. Their 2023 follow- up, Tender, marked a period of slowing down, looking inward, and embracing a softer side of being. 'Spiral Your Way Out' sees Zzzahara evolve again. Emotionally, its foundations are built on scorched earth.

The album finds Zzzahara in the aftermath of a relationship spent trying to fit someone else's mould, being jerked around by indecision, and then hitting "emotional rock bottom." Made in a three-month burst that let all their pent-up frustrations loose, 'Spiral Your Way Out' is in part a work of self-reclamation, swapping there 2nd album Tender's meditative state for something fiery and more assertive. The new album marks another sonic evolution as much as an emotional one. Zzzahara's songs have always come wrapped in a warm glow that reflects how they were written -namely at home in their bedroom.

That glow remains on 'Spiral Your Way Out', but it also packs an ambitious streak and a gutsy punch. Taking a more collaborative approach than usual, Zzzahara worked with a range of producers including Jorge Elbrecht (Japanese Breakfast, No Joy, Sky Ferreira), Sarah Tudzin (boygenius / Cloud Nothings / The Armed), former Ducktails guitarist Alex Craig (Jelani Aryeh / re6ce) and Halsey tour drummer Franco Reid, who helped harness their intimate style of writing and blow it up into something more panoptic. After a year of upheaval, Zzzahara finally feels "calm." The musical equivalent to going several rounds on a punching bag, 'Spiral Your Way Out' finds solace between extremes. It licks its wounds in a place where pain and love, healing and abandon, sit side-by-side. If it has a message, it's one of standing tall in your own shoes - scuffs and all.

Editing is a specialist game that is easy to play but difficult to master. King Most is more adept than many, as he shows with a third outing here on his own KM label. This one finds him spreading his wings a little, flying away from r&b and hip-hop and migrating towards more worldly grooves with Afro and Latin undercurrents. 'Tony Trinidad' brings swirling guitar echo and coconut percussion to a crispy slow jam, then 'Hermanos Cub' pumps up the funk with blazing horns and vocals. There's lush polyrhythmic looseness and string melodies to 'Zimbabwe Thorn' and earthy disco charm to 'Bebe Cameroon' with its seductive vocal leads. Cultured cuts.

Over the last half decade or so, Monsieur Von Pratt has marked himself out as one of the 21st century disco scene's most reliable re-editors, with a party-starting trademark sound built around blends of borrowed instrumentation and rolling, house-style beats. This signature sound is very much evident across the producer's tenth contribution to his own Illegal Disco series. He begins by polishing and tooling up a sparing, horn-heavy disco classic 'Don't Say Goodbye', before rearranging and lightly updating a squelchy synth-bass propelled chunk of disco-boogie goodness ('Gonna Getcha'). Rounding off a fine EP is 'Make Love To You', a more low-down and celebratory chunk of beefed-out disco-fink hedonism.

Vanisher, Horizon Scraper is the highly anticipated follow-up to Quadeca’s 2024 critically acclaimed mixtape Scrapyard, which received a coveted score of 9/10 from Anthony Fantano (The Needle Drop) and currently sits as the #28 highest-rated mixtape of all time on RateYourMusic.


Vanisher, Horizon Scraper is a concept album—a modern apocalyptic folklore about a man who sails into the ocean alone in pursuit of freedom and cosmic understanding, subconsciously driven by his own self-destruction.


With a runtime of nearly 70 minutes, the album takes listeners on a transformative sonic journey, blending genres such as world music, ambient, hip hop, bossa nova, folk, rock, and other experimental styles.

1st Album from the Lisbon Portugal duo Jah version - featuring the amazing vocals of Zacky Man. This is future sounding fine contemporary roots flavoured dub from hard steppe beats to heavy roots one-drop styles - made by Jah Version but mixed by Vibronics in his Dub Cupboard Studio in the UK. Played by OBF, Iration Steppas and all the top Dub Soundsystems around the world.

FIMIANI is an Italian music digger, passionate DJ and producer with an unmistakable House, Soul and American influences from black music, funk, soul and disco.

FIMIANI is one of the best DJs in the TOY TONICS camp.

His track “Disco Music” is a hit. Played by DJs like Palms Trax, Folamour, Louie Vega of Masters at Work, Horse Meat Disco, Seth Troxler, Mousse T. and many others.

Combining the original NYC house sound from the 1990ies with the best of Italian Disco history. Turning it all into a very contemporary flow of afro-american and Italian music based on funk, soul, melodies and rhythm. Just listen to his 2 EPs he did on Toy Tonics and you understand. All played live with musicans (no samples) this sounds like the best organic house tracks you can get at the moment.

Fimiani lands a major milestone with his remix of John Julius Knight’s Find a Friend (Sulfuric Trax), hitting number 1 on the Overall & House chart via Traxsource.

Check also FIMIANI’s edits of extremely rare Italian disco on his own imprint Caffè Corretto edits. Under the name BPLAN.

MUSAR is proud to introduce Koloah, the newest voice in the family. Making his label debut with You Can Get Me EP, the Kyiv-born, Berlin-based artist arrives fully formed: three original tracks that move between restless grooves and expansive, immersive sound design, accompanied by a brain-melting remix from rising French star Binary Digit.

The EP opens with "You Can Get Me" - a UK-leaning groove anchored by a snaking acid line and fragmented vocal cuts that surface and dissolve, insistent and hypnotic, one of those tracks that lands fast and stays with you. "Get Me Close" follows, shifting the A-side into electro territory: harder edges, colder mechanics, but the atmosphere holds. Koloah keeps the tension tight and the space wide.
The B-side reaches further. The braindance producer Binary Digit takes "You Can Get Me" apart and rebuilds it in his own image - known for his deeply idiosyncratic approach to rhythm and texture, he turns the original into a real summer anthem, faster and focused, the same raw material carrying a completely different emotional weight
The EP closes with "Liminal Forest", a full IDM statement: intricate rhythmic programming, layered synthesis, and a sense of place that feels earned rather than constructed. Koloah signs off somewhere between the forest and the machine.
Recorded in Koloah's Berlin studio, the tracks were built in different periods - which is exactly why they breathe the way they do. Not a forced coherence, but a natural one.
"Atmosphere is the core of all my music and what I pay the most attention to."
- Koloah
This is the beginning of something. Welcome, Koloah.

Luke Una introduces a new series of original, dancefloor-focused productions on his É Soul Cultura imprint, in partnership with Mr Bongo. True to the label’s ethos, the series pushes sonic boundaries into deeper, more expansive territories, delivering forward-thinking music for discerning dancefloors. The first release brings together UK garage royalty Zed Bias and the underground talents of MJK, as we’re served up a double hit of hypnotic, futuristic techno and house.

Zed Bias is an artist that needs little introduction. The main moniker of Manchester’s Dave Jones, over the past 25+ years he’s cemented himself as a crucial figure in UK garage and dance music as a whole. He’s remixed hundreds of artists including Whitney Houston, The Streets and Azymuth, been nominated for a MOBO award and, through his more experimental take on 2 step garage, helped lay the foundations for the development of bass music into dubstep. For this new release he teams up with Ghanaian-British producer and DJ, MJK. Earmarked as ‘One To Watch’ by DJ Mag, and similarly championed by Mixmag, MJK’s sound draws from the worlds of bass, grime, house and beyond.

Opening track ‘Keep On Livin’’ sees Zed Bias and MJK coming together in the studio. Passed to Luke by his manager If Khan, it’s a sonic alchemy rooted in black heart soul music yet seen through a prism of bass futurism. A heads-down cut of driving techno, with nods to Detroit, and firm UK foundations, that is both bass-heavy and otherworldly. It’s a simple yet effective, entrancing combination of percussion, bass, and keys, peppered with old soul samples that lock you into a groove and never let go. A track built for dancefloors big or small.

On the flip, MJK steps up solo with ‘Late to Camberwell’, diving into deeper, late-night territory. Known for his three-deck DJ mixing style, MJK has a real understanding of how to layer elements to keep people moving. A swirling cosmic feel reverberates through ‘Late to Camberwell’. Drum hits, shakers and synth loops are weaved together in style, creating a dose of deep, immersive rolling house. In Luke’s own words, “I found it very exciting to hear a new artist create such a beautiful sound that reminded me of Detroit and Artwork's late ‘90s techno alias Grain. It’s stripped-back raw house music of the highest calibre”.

Tour-Maubourg returns with a new 6-track EP, Dreams, further cementing his place as a key figure in today’s electronic music scene. Known for blending soulful house with rich jazz influences, the French-Belgian producer showcases both his DJ sensibility and refined production skills on this long-awaited release for French deep house label Noire & Blanche.



Nearly four years after Floating on Silence - his acclaimed EP for the label that quickly became a staple in DJs’ sets and underground all-night club sessions - Dreams follows the same inspired path while raising the bar even higher. Joined by a carefully selected group of collaborators, including American producer Kareem Ali (praised by Rolling Stone, Pitchfork, and Boiler Room), pop/R&B soul singer Nic Hanson, and Lithuanian producer and musician Cyan Lu, Tour-Maubourg blurs the lines between jazz and house. The result is a deeply musical, immersive EP that reinforces a sound signature now unmistakably his own, designed for both intimate listening and late-night dancefloors.
crédits

Heartbreak Station, released in 1990, is the third studio album by American rock band Cinderella. The record climbed to No. 19 on the Billboard 200 and earned platinum certification the following year. VH1 described the album’s shift in direction as “bluesy and brawny,” a fitting summary for a project that produced three Billboard Hot 100 singles; “Shelter Me,” “Heartbreak Station,” and “The More Things Change.”

The album marked a deliberate move away from the glam‑metal sound that defined Night Songs and Long Cold Winter. Instead, Cinderella embraced a rawer, more stripped‑down blues approach. Speaking to the Los Angeles Daily News shortly before release, frontman Tom Keifer explained the evolution: the band aimed for a “rawer, simpler approach,” reducing reverb and overdubs to let the songs breathe. Keifer also noted that blues played a major role in shaping his songwriting during this period.

Adding to the album’s depth, former Led Zeppelin bassist John Paul Jones arranged the string sections for two tracks. The band sought him out after being impressed by his orchestral work for artists like The Rolling Stones and Donovan.

Heartbreak Station includes an insert with lyrics and is available on black vinyl.

The Flat Earth is the second studio album by English new wave and synth-pop musician Thomas Dolby, it was released on 10 February 1984 and peaked at No. 14 on the UK Albums Chart. The first single from the album was "Hyperactive!", which peaked at No. 17 in the UK Singles Chart, and was a minor hit in the Netherlands too.

The album has held up very well 40 years after its release; a crisp production, brilliant songwriting by Thomas Dolby and a fantastic ensemble of supporting players makes this record a classic in its own kind.

The Flat Earth is available as a limited edition of 750 individually numbered copies on silver vinyl, and contains an insert.

With a breathtaking pair of intimately interrelated new albums, he applies that bold passion to an uncharacteristically pared-down setting, then transforms those stunning sounds via a startling process of sonic reinvention. ResoNation Trio convenes a new chordless trio with master improvisers Scott Colley on bass and Nasheet Waits on drums. The album's contemplative explorations feel like a departure from the raucous spirit that characterizes so much of the trumpeter's work, yet the trio discovers such an audacious beauty and celebratory gusto in these sparse environments that the music feels uniquely Bernstein's. It is also a rarity in his oeuvre for featuring Bernstein - whose mastery of the little- used slide trumpet has become so central to his sonic identity - exclusively playing valve trumpet and flugelhorn. In parallel with this captivating trio excursion, Bernstein handed the recordings over to his longtime collaborator, the pioneering producer Scotty Hard, to reimagine the album through his own iconoclastic lens. The result is the uncategorizable Ultra Resonance, which finds Hard breaking down the ResoNation Trio session into its constituent parts and redeploying them as the elements of a wholly original, mutant creation. The project will be released on June 5, 2026 via Royal Potato Family as a double vinyl or CD package containing both albums, and separately on digital streaming platforms.

repressed !

It's been a busy 3 years since Danny Berman aka Red Rack'em released on his own Bergerac imprint.

Since then he's toured relentlessly, released a whole album of live music based disco/punk funk for Sonar Kollektiv as Hot Coins, managed to completely update his biggest track 'In Love Again' to make it a hit the second time around plus released spaced out, wonky party smashers on Wolf Music, Phonica, City Fly and Telefonplan.

While all this was going on Bergerac was largely on ice but now Berman is turning his energy back to the label with a vengeance.
Wonky Bassline Disco Banger is accurately titled. An uplifting intro breaks down into a slamming disco house number and just when you think you know what's going on...
Then the trademark Red Rack'em wonky bass drops in. 150% Guaranteed party smasher... Jazzy House Extension is super vintage Red Rack'em from around 2004 - something for the jazz heads out there - cracked out piano and far too loud double bass come together to birth a euphoric yet banging snapshot of a producer learning his chops. Destined is a slightly demented leftfield house number featuring mangled, pitch shifting fretless bass and vocals samples discussing someone's destiny.
A woozy end to the EP.

DCTL Members is a unit formed by Masafumi Onishi, aka TELLY, the label owner of Troop Music Works, and DJ DUCT, who is renowned for his turntable skills that span a wide range of genres, from Hip Hop and Rare Groove Funk to Detroit Techno and Deep House. For this upcoming EP, they feature Shu Suzuki, a multi-instrumentalist who lends his versatile talents to the project.
This time, by blending musical instruments with the raw warmth of analogue gear and rough, sampler-and-rhythm-machine-driven sequences, the sound has evolved into something even more energetic and full of DIY spirit.

Ekkel guides Earth Dog to The Destination, a four-pronged psychedelic clinic in the finest Nordic electronic tradition.

Co-founder of Norway’s Ute collective, celebrated Oslo-based producer and DJ Ekkel revels in prog naturalis. Previous releases as Alvar and Shadowmages, his duo with S.O.N.S., perfected this tripped-out sound with a heavy emphasis on melody. Following last year’s celebrated appearance at an Earth Dog rave in Brooklyn, he returns to grace the crew’s fourteenth release with The Destination.

Opener Questions About Mindcontrol awakens the discordant synapses, an entanglement of melodies and rhythm with a certain progressive attitude. Home Or In A Dream (Miami Morning Mix) properly ascends with trance-like wonder and ecstatic lucidity, before So Quiet returns to dusk with a tek-no throb and acidic bite. Destination G concludes with a nocturnal shimmer, an unrelenting groove caught in its own hypnosis ‘til the finale.

Sucre Discos proudly presents its very first vinyl release. Straight from Valencia and
crafted with love, the label kicks things offwith a powerful debut from Otrera, the
Argentinian talent whose infectious and timeless grooves have been setting dancefloors
in motion.

This EP is packed with personality — music designed to move bodies and capture the
essence of the club.

To complete the package, two of the most exciting names in today’s house and minimal
scene, Sueezo and Aka Juanjo, deliver top-class remixes, adding their own unique touch
and turning this record into a versatile and essential piece for any selector’s bag.

Ital Tek's new album 'Mind Abandon' takes a different direction from his recent run of releases, embracing a more human touch in contrast to the dense, world-building drone of his previous albums and film work. This time, he set out to compose away from the computer as much as possible _ working more instinctively and allowing himself to get lost in the music. Alan found the most natural starting point was his own voice, processing vocals into shifting pads and textures. His guitar sits at the centre of much of the record, joined by live, hand-played percussion and effects, often captured in quick, spontaneous performances. The result is an album of spacious, contrasting dynamics, with textures pressing against each other and rhythmic elements fighting to surface from glutinous, layered sound. "It feels like a very introspective record for me," Alan says. "Losing my sense of identity/self as part of the process - the increasing effort to calm my mind and embrace humanity/imperfection in the music. This path made sense as a jumping off point for a lot of the music to be vocal or guitar experiments - singing in ideas and then processing to become less identifiable." The album feels carved and three-dimensional, weaving industrial and shoegaze influences with the darker edges of post-rock. Subtly embedded in its architecture are traces of dubstep dynamics _ a sound that remains part of Alan's DNA. Opening track "The Ice Is Thin" is driven almost entirely by live guitar and keyboard, awash in reverb. On "A Hidden Path," everything apart from the drums stems from processed vocals and guitar, with a fleeting appearance from his daughter's toy ukulele. It unfolds like the beginning of a journey _ vast and cinematic _ nodding to the widescreen tension of Ennio Morricone before building into a towering wall of noise. "Killswitch" disorients with pounding kick drums crafted from twanging acoustic guitar, pushing through layers of static-charged chords. "Undertow" spirals outward on looping guitar figures set against a pulsing Rhodes. "Misted," built around a rare four-to-the-floor beat, uses guitar as a driving rhythmic device, opening with a bassline that wouldn't feel out of place on a The Cure record. "Imagined Landscape" introduces icy keyboard textures that foreshadow the dark closer, "The Pull," where an arpeggiated bassline reminiscent of DAF underpins unnerving, internalised sound design that feels as though it's scratching from within. Mind Abandon closes on a heavy, stalking note _ fresh sounds drawn from the body and the heart.

Not all 'All Stars' style releases live up to their name, but this multi-artist extravaganza from Demuir's Purveyor Underground Ltd label most certainly does. The Canadian artist has snapped up tracks from some genuinely impressive deep house talents, with predictably fine results. For proof, check the deliciously dreamy, hazy and rolling opener from Atlanta star Byron The Aquarius, the jazzy bass, locked-in beats and lightly psychedelic layered aural textures of Fred P's 'Sunny Rain Drops (Cosmic House Edit)' and the softened DJ Sneak-style sample-rich peak-time bump of Demuir's own 'Alone In Chicago'. Elsewhere, M Squared reaches for elongated electric piano chords, eyes-closed samples and jazzy house grooves on 'Dance', before Justine Joe delivers an exquisite exercise in jazz-house jauntiness ('AFaOA (As Far As Our Attitude)').

For Metro Beirut’s latest release, Cem Mo steps forward with his debut vinyl EP, a record that bridges the roots of Chicago and Detroit house with his own deep and textured approach to groove.

Born in Ankara and having taken piano lessons at an early age, Cem drifted from classical into jazz, re-teaching himself harmony and improvisation before finding his way into production. After moving to Amsterdam in 2016, the city’s community and music scene expanded his horizon, shaping a sound that treats producing like improvising, with curiosity for grain, color, and repetition, where subtle shifts make all the difference. Along the way, Cem has released on Handy Records and Rhythm Section, while his project Nowhere People has appeared on Artisjok Records.

This EP brings together a tight circle of artists who deepen its character. Saxophonist Moritz Schuster, known for his work across electronic music and past work with Cem and Malik Kassim, formerly known as Retromigration, delivers a striking, free-flowing performance charged with raw intensity. On “The Hard Way”, Franco Corica joins Cem for a deep, soulful, jazz-leaning moment that feels both reflective and quietly defiant. Finally, longtime friend Malik pulls up with a dancefloor remix that preserves Cem’s melodic sensibility while adding his own loose, resulting in a circular dialogue between two artists who’ve grown side by side.

Artwork: Shahd Issa

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

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

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

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

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

With his highly accomplished third album If This Is It, DJ Seinfeld (Armand Jakobsson) evolves further into the artist he always set out to be, refining his emotional, club-leaning sound across nostalgic house, UKG, and 2000s-tinged trance.

The 12-track LP — featuring SG Lewis, Confidence Man, TS Graye, Dan Whitlam, ARY, “Norwegian pop witch” Moyka, and Barry Can’t Swim affiliate just lil — explores letting go in a world that can often feel overwhelming.

“A million ideas turned into a few, a few turned into no ideas at all, and no ideas eventually turned into one,” says Jakobsson of the album, which he began the week his acclaimed 2021 record Mirrors was released. “Through writing it, I’ve tried to turn long-held anxieties into acceptance, and I hope listeners can take their own meaning from it.”

Long-running event series Point inaugurates its new label with the debut EP by co-owner Laimonas. These four tracks draw on the weighty lineage of EBM and electro to evoke fragile mental states and their sublimation into cathartic dancefloor experience. ‘Ček’ is a brooding, almost military opener, its implacable beat tempered by expressive synth work and a striking mid-track break. ‘Fusion Glasses’ gets funkier, with ricocheting shards of percussion and jazzy keys, while ‘Editional’ leans darker, its roiling textures punctured by cosmic fanfares. The closing title track ‘Fragile Signals’ pairs the strict march of classic EBM with wordless vocal fragments and tense harmonies. This is a highly accomplished and intensely personal debut, establishing Laimonas’s voice as a producer and Point’s position at the leading edge of contemporary club music.

Strong and soulful contribution to the enduring legacy of Detroit’s underground sound. With Lyfe On The Dance Floor, Detroit’s own mystical 207737 delivers a deeply authentic statement rooted in the unmistakable spirit of Detroit House. Raw, soulful and effortlessly timeless, this release reflects the kind of musical identity that can only come from a city where machine rhythm and human emotion have always moved as one.

'Electronic lullabies and folk songs from Ethiopia! A landmark recording from Ethiopia’s vibrant cassette era of the 1980s, Resonance of Time features pioneering composer Wesenyeleh Mebreku reimagining Ethiopian folk melodies through the humble circuitry of an early Casiotone keyboard.
'Historically, the works featured on Resonance of Time (የጊዜ ቃና Yegizie Kana) stand as quiet documents of Ethiopian musical memory. Many of the original songs included in this release emerged during important moments in Ethiopian history when music carried the collective emotion of the nation - love, loss, resistance, dignity, and hope. By arranging these pieces from Ethiopia’s musical heritage instrumentally, Wesenyeleh Mebreku aimed to preserve their essence while protecting them from being confined to a single era or performance style. In doing so, his preservation of Ethiopia’s musical heritage became a contribution to his country’s musical legacy itself, as Resonance of Time serves as an important musical milestone of this composer’s innovative recordings and musical developments in the prolific era of Ethiopia’s 1980s cassette tape culture.
'On Resonance of Time, Wesenyeleh made use of the first Casio electronic keyboard - the Casiotone CT-201 - to arrange and perform Ethiopian folk songs in his own unique style. Implementing the soulful, lo-fi character of the keyboard, Wesenyeleh’s interpretations of these works take on a life of their own. Charming analog tones interpret swirling sounds of organ and piano in kignit modality to the beat of a nostalgic rhythm machine while twinkling synthesizer sounds carry the melodies drifting out of time. The recordings reflect a watershed moment in Ethiopian musical history - when traditional melodies started being interpreted on electronic keyboards, and the advent of cassette tape recording allowed for music to be transmitted more accessibly than centuries-old oral traditions. During this time, Ethiopian musical modes were syncretized with new technology and budding musical experimentation, and Wesenyeleh’s interpretations on Resonance of Time are a landmark recording of this era, following in the tradition of reflecting upon and re-interpreting historical Ethiopian music for a new generation.
'Featured on the release are timeless Amharic folk songs and lullabies, Tigrinya love songs, Gurage and Oromifa popular songs, and even works closely associated with performers from Ethiopia’s 1970s popular music era such as Tiz Alegne Yetintu (ትዝ አለኝ የጥንቱ) which was famously performed by Tilahun Gessesse. Each piece, thoughtfully chosen by Wesenyeleh, is beautifully transformed into instrumental music of his own style - allowing these worlds of song to echo into the future while they are synthesized with the electronic innovations of the 1980s and Wesenyeleh’s own musical history.
'Wesenyeleh says this about his musical approach - ”Instrumental music, for me, is a space of reflection. Without words, the listener is invited to remember, imagine, and feel freely. In Resonance of Time, I hear my own musical philosophy: respect for Ethiopian kignit, careful dialogue with Western harmony, and a deep trust in melody as a storyteller.”
'Each piece performed on Resonance of Time speaks to a time when Ethiopian music was shaped by oral transmission through live performance and communal listening. In today’s fast-moving musical environment, revisiting these works is an act of cultural responsibility. These works remind us that melody once traveled slowly, settling deeply in the listener’s heart. The instrumental format allows these works to cross linguistic and generational boundaries, making them accessible to audiences who may not know the original lyrics but can still feel their spirit.
'Resonance of Time also reflects a broader historical dialogue: the meeting of tradition and adaptation. Ethiopian music has always evolved while holding onto its core identity. These arrangements affirm that evolution does not mean abandonment. Instead, it can be a form of safeguarding - ensuring that the musical wisdom of the past continues to resonate in the present and inspire the future.
'In this sense, the album is both personal and collective. It carries Wesenyeleh Mebreku’s own musical fingerprint, shaped by decades of practice, but it ultimately belongs to a wider cultural continuum. It is the artist’s contribution to keeping time audible so that memory, history, and sound may continue to speak to one another.'

Very limited numbers, orders will need to be confirmed.

For his new album, Irreparable Parables, Andrew Wasylyk felt a strong desire to write a set of songs featuring an element hitherto rare in his work: the human voice. Equally strong was the conviction that he did not want to sing them himself.

The Scottish multi-instrumentalist and composer set about assembling a group of guest singers, sending out the songs to wherever they were in the world. The vocals were recorded remotely and then, like migrating birds, winged their way back to Scotland. The result is an album of great beauty which, perhaps preeminently in Wasylyk’s work, expresses the vulnerability and resilience of the human spirit.

Six singers appear on the record, represented by six songbirds illustrated on the sleeve by Clay Pipe Music’s Frances Castle. The cuckoo is a nod to Belle and Sebastian’s 2004 single ‘I’m A Cuckoo’, that band’s Stuart Murdoch being the first voice you hear on the new album. When the vocal for ‘Private Symphony #2’ arrived, says Wasylyk, “it was everything that I was looking for and more. But this is Stuart Murdoch. Of course he’s going to make something incredibly beautiful and thoughtful.”

The song lyrics were, for the most part, written by the singers. The music is Wasylyk’s creation. He navigates a sound world that lies somewhere beyond the borders of classical and jazz, ambient and abstract. It is difficult to describe, but easy to understand, which is to say to feel. That is the way Wasylyk’s work is experienced: as a feeling. It takes you back to childhood, perhaps, to feelings of comfort and safety, or to memories of walks at sunrise and sunset, or to the way a shadow falls on a particular field in a particular place at a particular time in your life. This is consoling music. That is why, though pretty, it is not merely pretty. These are songs to shore up the soul.

Wasylyk writes in a room, in his native Dundee, full of “half broken” instruments. He picks these up, plays a little, seeking an idea, a feeling, a door that lies ajar. The musical palette of Irreparable Parables includes brass and woodwind, a six-piece string section, guitar, bass, drums, vibraphone, Mellotron, Fender Rhodes, tape loops, synthesisers and percussion. The strings were arranged by the cellist Pete Harvey, a long-term collaborator.

Among the other guest vocalists are Gruff Rhys of the Super Furry Animals, Saya Ueno from Japan’s Tenniscoats and Peter Brewis from Field Music. Wasylyk himself takes the lead vocal on the title track, though a throat infection and touch of pitch-shifting have altered his singing in a way that even he, having fallen out of love with his own voice, finds acceptable.

The heart of the record can, arguably, be found in two tracks, ‘Love Is A Life That Lasts Forever’ and ‘Spectators In The Absence of God’, sung respectively by Molly Linen and Kathryn Joseph. The former, bright with trumpets, was inspired by the writing of Derek Jarman. “I was feeling deeply upset about the world and wanted to try and write some- thing that was obviously hopeful,” Wasylyk says.

‘Spectators …’ offers an emotional counterpoint. It is an “apocalyptic hymn” that seems to grapple with watching human suffering from afar, too distant to be at physical risk, but experiencing the psychological wounding, and feelings of helplessness, even complicity, that come with constant awareness of other people’s pain. “Kathryn’s a pal, I love her dearly, and she’s a brilliant artist who really feels what she writes,” Wasylyk says. “The cracked tenderness of her voice is spellbinding.”

The album closes with an instrumental piece, ‘Soul Enters The Ocean Sun Climbs Out Of The Sea’, all piano and strings, that offers a sense of resolution and ascension. A good moment, too, for Wasylyk to reflect upon the artistic companionship that he enjoyed while making this record – the songbirds that answered his call: “These humans are incredible at what they do. I’m deeply grateful and feel so lucky. It blows my mind.”

'This compilation Pas Un Pas Sans… The Boleros of O.K. Jazz 1957-77 is a selection of songs from what is one of the most unique and passionate music genres on earth, the Congolese bolero.
'Of all Congolese bands venturing into the bolero, the O.K. Jazz orchestra is by far the king of this musical style which originated in the late 19th century in Cuba. In its nearly forty years of existence, the illustrious band released dozens of boleros, with beautiful compositions, mainly by Franco and Vicky, and occasionally from Kwamy, Edo, Simaro and Mujos among others. The slow form of the bolero allowed Franco, who said in various interviews that he loved all forms of ‘slow music’, to express his most profound soul stirrings and create a style of his own. With the suave voice of Vicky and the breathtaking and dramatic guitar touch of Franco, O.K. Jazz was able to capture the true essence of the bolero.
'The favorite theme in the bolero songs of O.K. Jazz was, without doubt, the joy and pain of love, but it also touches on friendship, city life in Kinshasa, laments, politics and even advertising for a shoe brand like the remarkable song ‘Pas Un Pas Sans Bata’ featured on this compilation.
'All of the songs, except one, were restored and remastered from the original 45 rpm or 78 rpm release. The selection chronologically presented here consists – as always – for a good part of songs never reproduced after their original release.'

First released in 1998, Luvstruck became an instant house anthem and a defining track of the era. This limited edition red vinyl celebrates that legacy with four essential old school remixes: Marco V & Benjamin, TimoMaas, Alex Trackone, and Klubbheads 2005 Remix. Each version brings its own flavour, from deep underground grooves to peak-time euphoria. A true collector's piece, this pressing pays tribute to the track's timeless impact on dance culture.

MELODI is the debut full-length album from Norwegian artist Sommerfeldt; a collection that takes listeners through the artist's mind, inspirations, experiences, and travels.
With a 20 year track record and releases on labels such as Full Pupp, Paper Recordings, and his other home Badabing Diskos, this album showcases a playful approach to genre, where a tight drum machine groove forms the foundation of a colourful record that touches on ambient, '80s, new wave, deep house, balearic, and downpitched progressive trance from the early millennium (which Sommerfeldt himself highlights as his formative years).

The album has been four years in the making. Several of the tracks were recorded around the world on hardware samplers and synths; bird sounds and ocean waves were captured, processed, and later finalised in his studio in Oslo.
Joining him is a stellar team of contributors; Embla Maria, Sigmund Floyd, Toshybot, Guro Kverndokk, Kristian Solhaug and Magnus JJ, adding outstanding vocal performances, gritty guitars, and oval percussion, the original cover artwork signed by Sommerfeldt's own favourite artist, Quentin Desveaux.

All of this is woven together into a cohesive whole that will make you want to listen again and again.
The six track musical masterpiece is set for physical release May 29th 2026 on a bold orange 12"

Jim O'Rourke and Jos Smolders teamed up again after their first collaboration, Additive Inverse from 2021. Over a period of three years, both artists worked in sessions of a day, each in their own studio.
The result is sometimes like a warm cloud of sounds, suddenly breaking up into a rhythmic, irregular pattern, after which it dives into introverted mindsets. The music is in constant flux
The project followed the same workflow, but this time Jim took the lead and kicked off with a salvo of sounds that he extracted from his Kyma System. Both Jos and Jim were quite interested in the spectral character of sounds. Jim applied Kyma algorithms while Jos granulated his basic recordings. That way, textures are built, quite slowly moving from warm to gritty, from hard surfaces to deep sonic wells.

At the age of 72, "Evil" Graham Lee, the legendary pedal steel pioneer and veteran of the iconic Australian band The Triffids, delivers his first ever album under his own name titled ‘I Think I’m Alone Now’. In addition to his work with The Triffids, Graham’s place in ambient history was cemented in 1990 when his evocative pedal steel became the soulful centerpiece of The KLF’s masterpiece, Chill Out (specifically on the highlight “Baltimore to Fair Play”).

I Think I’m Alone Now is a profound exploration of the instrument's emotional range, blending traditional country infused melodies with vast, reverb drenched ambient textures. The album spans six tracks, anchored by the Side B title track, a 15 minute textural piece that leans heavily into the ambient genre. From the delicate melancholy of "Seeking Beauty in Sadness" to the curious abstraction of "Nursery in the Beehive," Lee uses his pedal steel and an array of pedals to sculpt unique, haunting soundscapes that exist between tradition and the avant garde.

The connection is brought full circle with exclusive liner notes written by The KLF’s Bill Drummond. Reflecting on a forty year friendship that began when The Triffids served as the backing band for Drummond’s solo debut, The Man, Drummond provides a personal and poignant context for this long awaited solo bow.

A 180g pressing housed in a full sleeve designed by Bradley Pinkerton with metallic sticker and bespoke inner sleeve featuring liner notes signed by Bill Drummond.

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.

Somewhere close to Manchester’s ever changing city centre, as the sun fades and peeks through the newest glass facade, you’ll find Shaking Hand. One part in shadow, the other basking in prisms of light as they sketch out their own sonic landscapes in the dusty redbrick mill they call home. One that is just about clinging on from the encroaching developments that surround them.

Against this back-drop where buildings are constantly torn down & built back again, the three piece craft away. Pulling from early post-rock, and 90s US alternative rock, crafting their own brand of Northwest-emo. Assembling something new, yet nostalgic. Looking ahead towards the transforming horizon. Shaking Hand’s music is built on tension and release – quiets that stretch, louds that overwhelm. Repetition that feels both hypnotic and destabilising.

The band’s musical DNA runs through experimental guitar outfits like Women, Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions push against structure: sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. Yet, as Ellis notes, there’s an underlying warmth too: “Like walking through an empty city late at night but catching flickers of life in the buildings you pass.”

Early ideas like ‘Night Owl’ and ‘Sundance’ grew out of George’s lockdown “bedroom years,” where new tunings (open E, drop D, and stranger Pavement-inspired set-ups) opened up uncharted textures. Later, in grim rehearsal rooms, the murky epic ‘Cable Ties’ and the hypnotic ‘Mantras’ absorbed the gloom and grit of the band’s surroundings.

The album was recorded with producer David Pye (Wild Beasts, Teenage Fanclub) at Nave Studios in Leeds, housed in a converted church. “The live room was huge and perfect for capturing our sound,” says George. Determined to bottle their onstage energy, the band tracked the foundations live, layering vocals and guitars later. Soviet-era microphones, odd mic placements, and even phone-recorded demos fed into the mix. “You’ve got to watch out for David though,” Freddie laughs. “He made me play four tambourines in one hand, really hurt, man.”

Lyrically, the record drifts between abstraction and lived moments. George’s words often spill out instinctively, words falling into place before their meaning becomes clear. “A lot of the lyrics look like they’re buried in abstraction,” he says, “but when I look back I can see what they were about — whether that’s an emotional response at the time or just an observation of what was happening around me”. There’s contrast at the heart of it all – optimism vs. doubt, the lightness of youth vs. the monotony of work, a city in constant redevelopment vs. the people drifting through it.

The album artwork is taken from unused plans for the 1970s redevelopment of Los Angeles by architect Ray Kappe, entitled ‘People Movers’. Hypothetical buildings for real people, it feels a complement to the band’s own constructions. One thing’s for sure, Shaking Hand’s debut is built to last.