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More songs in various tunings by Andi and Lutger. The record contains four tracks and comes with six digital bonus tunes.

3 of Brazil's most important artists of the past 10 years team up in this Tribalistas project  a genre-blurring set of tracks that recalls similar efforts of the Tropicalista generation, updated to reflect the styles of the 3 artists involved, with some nice complicated production touches from Monte herself. Titles include "Carnavalia", "La De Longe", "O Amor E Feio", "Passe Em Casa", "Velha Infancia", and "Ja Sei Namorar".

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.

Four years after first playing for Motive Hunter, and coming off his contribution to our ‘Friends Of The Label VA’ in 2024… DJ Hybrid returns with three red-hot Junglist weapons. Closing out the B-side, UKG maestro ODF flips the title track into a slick, complimentary vibe-switch for the garage crew.





d b2. All Over ODF Remix




[d] b2. All Over [ODF Remix]

The label say "Fresh from impressing with the pulsating techno of Boris Werner and the fuzzy live house jams of San Proper, Tom Trago's Voyage Direct label turns to a man who needs little introduction: Dutch legend and man of many pseudonyms Danny Wolfers.
Best known under his Legowelt alias, Wolfers has spent the last two decades flitting between strobe light acid house, 808 electro, fluorescent techno and shimmering space disco. Throughout, he's kept his productions pleasingly analogue-heavy, making great use of classic drum machines and vintage synthesizers. While his music may be steeped in the past, Wolfers' productions always sound like the future.

For this first outing on Voyage Direct, Wolfers resurrects the House of Jezebel alias - a pseudonym previously only used for the twinkling deep house warmth of 2010's 'Love & Happiness' - and delivers two tracks of synth-laden analogue house goodness.

'Back In Dogtown USA' sets the tone, as Wolfers layers rising chords, darting electronics and wide-eyed synthesizer melodies over a clattering analogue house groove. As with much of the legendary Dutch producer's work, the track ripples with rush-inducing melodic intent. It's the soundtrack to a party on Jupiter, and we're all invited.

Wolfers' ups the tempo dramatically on 'I Took A Train In 1979', transplanting us to the far reaches of our galaxy via jackin' techno drums, picturesque organ melodies, drifting chords and intoxicating pads. There are echoes of classic Detroit techno, surging Rotterdam electro and vintage cosmic disco, yet it doesn't really sound like any of these things. Like 'Back In Dogtown USA', 'I Took A Train In 1979' sounds like the past, reconfigured and rearranged for the consumption of future generations. In other words, it's a classic Wolfers production."

EB-REX kicks off EB003 with atmospheric, driving techno single 'The Core' by Estella Boersma. The label's third release, EB003, expands it's sonic scope and delivers a bright, peak-time techno experience. The release concludes with a delicate IDM cut, leaving the listener suspended between nostalgia and motion. EB-REX, a Berlin-based Techno label founded by Estella Boersma in 2024, stands as a testament to versatility and artistic freedom. Drawing inspiration from the halcyon days of old-school rave and the relentless drive of Techno's present, each release embodies a synthesis of the past and the future.

The 12-track record is the first album on SHDW's influential label and explores the past, present, and future of techno.

Planet X label head and 20-year scene veteran Exos, hailing from Iceland, draws on his native country's influences in his work, which explores the interplay between light and dark, warmth and cold. His high-octane sounds over the last 20 years have appeared on vital imprints like Tresor, X/OZ, and, of course, Mutual Rytm, with his releases for
the label having been extremely well received, garnering support from the scene's key DJs. Whether dubby or hard, his techno is always authentic and channels the purity of the 90s style. This new album follows Exos's inaugural X-Release, the Infrared 10", the Icebreaker 12" from last year, and his track on the latest Federation of Rytm IV compilation. It's a real journey through all facets of his sound, including a trip back to his dub techno roots, ambient
explorations, and emotional vocal pieces with lifelong memories fused into sounds that reflect the artist's decades spent in Iceland.

'Sweet Dreams' opens with an atmospheric intro in the form of a 28-year-old collaboration with his father. This full-bodied analogue ambient piece is rich with the mysterious tones of the Nord Modular and was recorded during their shared studio days at D17 in Reykjavik. The title track is a hypnotic, linear groove with icy synth modulations and glistening melodies. 'Hinn Vioforli' then brings dub warmth while 'State of Mind' recalls the spirit of the legendary Reykjavik club 'Thomsen', a cornerstone of Iceland's late 90s underground scene. 'Glaour Og Reifur' and
'Fogur Er Hlioin'pay homage to the echoes of ancient Viking heritage, 'North of January' conveys the cold of Exos's homeland, and 'Hvarvetna' brings textured percussion and darker undertones before '101 After Dark' slows to a bass-heavy broken beat exploration of texture and post-dubstep pressure.

After the heady and atmospheric sound of 'The Dolphin Oracle', another key collaboration comes with 'Freefall', an emotional breakbeat piece featuring vocalist Amelia Rodriguez,' who also lends her voice to 'Shock', a magnificent track that channels Exos's modern techno energy. The album closes with a haunting paradox, 'Paradise Lost,' questioning whether our sweet dreams are truly moments of bliss or simply reflections of what we've already left behind. The three bonus digital cuts offer sleek minimalism, punchy deep techno, and suspenseful ambient.

The Mi-Mnemonic EP by Karma is one of those records that preserves a genuine fragment of the Italian electronic scene of the late ’90s. Originally released back then and now reissued in 2025, it carries the raw energy of a time defined by clubs, after-hours, and pure analog experimentation.

Behind the machines were Francesco Passantino and Davide Calì, two young DJs and producers who brought to life legendary nights between Taverna Jory in Aulla and the iconic Club Imperiale in Tirrenia. It was a period when electronic music was more than entertainment — it was a shared language: from the dancefloors to the studio sessions filled with drum machines, sequencers, and analog synthesizers.

The EP is built on hypnotic grooves, deep basslines, and a raw sound that perfectly reflects the spirit of that era: no frills, just pure sonic energy. The 2025 reissue brings back that same freshness, offering a chance to rediscover a record that smells of endless nights, spinning vinyl, and an underground scene that thrived on community and vision.

Today, Mi-Mnemonic is more than just a track from the past: it is living memory, a testimony of a time when analog sound was the driving force of freedom and connection

Produced by Francesco Passantino & Davide Calì

Box Set: 2LP (sparkle) + 7" (transparent) + CD + Vinyl Slipmat + Booklet + 6 Coasters + Keychain + Stickers

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions.

OK Cowboy is a landmark album in electronic music, a pivotal record between eras.


It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.



Box set contents: double LP, 7-inch single, CD, vinyl slipmat, booklet, 6 coasters, keychain, sticker

Cosmic Voodoo is an immersive musical experience that combines the best of cosmic disco with the pulsating energy of contemporary electronica. Through alternating synthesizers and acoustic instruments, this project presents an irresistible arsenal of sound.

This is the second volume of four that will create a unique graphic work created by the famous Aldo Drudi.

Written and produced by Daniele Baldelli, undisputed master of cosmic-disco, and Mattia “Matta” Dallara, sound explorer and producer of Cosmic Temple, this EP is a journey that evokes dreamy and nostalgic atmospheres, perfectly in line with disco roots.

The tracks unfold between enveloping grooves, spacey synthesizers and rhythms that pay homage to the 1980s, generating a sound that is both classic and innovative. An electronic tribal ritual, a dancing spell that can transport the listener to a parallel universe full of psychedelic sounds and magnetic beats.

Ideal for those who like to lose themselves in the depths of sound and be guided by vibrations that oscillate between past and future.

The sixth Subetasch release comes from long-time friends and collaborators TakaTuka and vaZdaZ.

Side A opens with Stamina, a hard-hitting tekno track by TakaTuka, the result of his first deep dive into the DFAM synth he’d just gotten his hands on. Track two, Olga by vaZdaZ, hits just as hard - driven by the screams of a free smartphone synth, it sounds like it’s been tearing up proper parties for the past decade.

On Side B, TakaTuka and vaZdaZ join forces on both tracks, diving into their shared love for breaks, ambient and IDM. The first, Teenage Carcrash, is driven by the tiny drum sampler “PO-12,” which also inspired its (hopefully not too controversial) title. But don´t worry, your Car´s Hifi-System isn´t broken, it´s just gritty distortion and a pulsating bass, sweetened with a catchy tune.

The final track, Unknown Food Can, originated in a circuit-bending session with a trashy old electric piano. Starting out calm and melodic, it slowly unfolds - this food can was found in Kamyshovo, who knows what's hiding inside?

Celebrating its anniversary with a characteristically bold move, Kyiv-based vinyl label Artreform isn't closing a chapter - it's opening a new one. Rather than issuing a standard 50th release, the label jumps straight to release 51 with this striking 8-track mini-album - a sly nod to the new sounds and exciting events still to come.
Splitting the anniversary release into two parts (four tracks each) creates a liminal space between the past and the future; between canonical house sounds and futuristic sound experiments. Unwavering ambition and a daring vision have long defined Artreform - and are deeply embedded in the creative credo of its founder, DJ, producer, and vinyl connoisseur Joss.
After an impressive 13-year journey, it's fair to say that Artreform has never succumbed to the lure of fleeting trends, remaining steadfast in its dedication to quality tech house, deep house, and microhouse. At the same time, the label continues to stay sharp, hungry for new ideas, and firmly in step with the times - while many imprints of similar vintage slide into self-mythologizing mode, focusing on reissues and retrospective compilations.
The new release makes this abundantly clear. The second half of the celebratory mini-album features a vibrant, life-affirming dancefloor cut from JOSS; a peak-time rave-inspired killer by iO (Mulen) - an artist who's been with Artreform since day one; a stylish deep house groove from seasoned masters Gorje Hewek & Binu Raal; and an ethereal vibe courtesy of Swedish standout Cirkel Square, whose music sounds dreamy, arresting, and otherworldly.

Over the past couple of years, Frits Wentink has blessed us with four releases as part of the FRITS X WOLF series. Each 12” showcasing Frits classy & impeccable productions. To round off this chapter WOLF and Frits present a special remix EP with fresh takes of their favourite tracks from the series.

Up first is Bonafide legend, Ian Pooley with his exceptional take on the killer About You, even blessing us with some bonus beats.

On the flip, Prince Palmer elevates Intentions into a peak time burner that is sure to turn any dancefloor into a frenzy. Rounding off the EP, Dominic Oswald lends his signature sound to Club Land, deep, groovy and hitting all the right spots.

Another essential addition to the FRITS X WOLF discography. The previous releases haven’t stuck around for long so as always buy or cry!

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.

'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.'

A special 15 year anniversary record celebrating L.I.E.S. Records! L.I.E.S. and Nation join forces on this huge release.

New collaborative project out of Chicago from "DuKe" and The Stranger!

Two sided-12 inch housed in a full picture sleeve, once again we hear and see the scope of the broad range of what is, and can be "dance music" through the adventurous production of DuKe & The Stranger.

Two eight minute versions alternating in time space and rhythm..this is the future, past and present wrapped into one from the visionaries.

Makyo taps into his love of roots reggae for this deep, dark and dreamy cover of Things Ah Get Tough by the legendary Bristol band Talisman. The Tokyo-based producer transforms the original, while keeping true to the essence of the original, whose lyrics meditate on the greed and destruction caused when corporations benefit from a nation’s downfall.

Makyo has charted his own course through the world of dub, often with an eastern or tribal twist, since the early 90s, working with collaborators like Bill Laswell, Natacha Atlas and Muslimgauze, but with this release, he’s entering a new phase.

“I’ve listened to this song for years,“ notes Makyo, “and it just felt more relevant than ever when I started working on it in 2024, with all the wars, election madness, wildfires, inflation and nuclear posturing. The mood just seemed to reflect where people were at.”

Having overcome crippling tinnitus and hyperacusis (to the point that he couldn’t even listen to music for several years), Makyo’s finding joy in the past whilst looking to the future, with this sparse and bittersweet version of Talisman’s tune the first in a series of contemporary covers he has planned.

‘Before the Odysee, there was the Iliad; a tale of the golden age of heroes and warriors.'

The idea behind the Iliads series was to return to the sound of the golden age of Jungle/Drum & Bass, and more specifically the original ‘heroes’ of the Odysee label.
This fourth and final instalment concludes the series; bringing all the different styles of the original Odysee sound together in a grand finale. From deep atmospheric beauty to sinister dystopian breakbeat fury; Iliads IV has it all.

Oubliette immediately creates a feeling of unease and paranoia. The rapid injection of different breakbeats gives the track an unsettled feel; with nervy piano jangles and moaning samples adding to this atmosphere. The track drops with punching subs and razor-sharp curling breaks from amidst the desolation of the atmosphere of the intro. The call and response style is used to cut from break to break maintaining the unease of the intro. The drums & bass break down into a
dystopian landscape of sound, before dropping once more to take the track towards its conclusion.

A Point In Time with its obvious reference to a compilation series on a certain well-loved atmospheric Jungle label is all about conjuring nostalgia. There are notable references to bygone days; the infamous bulb bass and bleeps of the Warehouse days of glory, and the tearing mentasms that enter in the approach to the breakdown. The breaks are crisp and complex, the sub-lines deep and dark; a track truly built for a dark sweaty basement club where the bass bins
are pushed to their limits!

Love & Desire is a sultry deep atmospheric roller full of subtle references to the early UK Garage sound of the mid 90’s or even Deep dub Tech-House. The elegant curls of the Apache break that takes centre stage in this track are complimented by sweeping pads and a set of deep synth stabs that form the rhythmic backbone. The subs drop deep amidst a palette of avant-garde electronica, as the spoken word vocals call out “my love....my desire.”

We really hope you’ve enjoyed the Iliads series as much as we have; they represent a very special sound that is close to the very heart of what we at Odysee are about. As much as they focus the lens on the past, we truly believe they have had a profound effect on our future....in as much as they have brought us back to the raw essence of our sound.
Andy & Tilla

393AD returns to his own Full Range Motion records with 'Singularities EP'! On this EP, 393AD continues to explore the grey-area in between introspective yet driving techno, an area in which 393AD's well-received debut 'Doctrine EP' left such an impression. The Amsterdam-based artist playful use of sound-design and storytelling adaptations of live hardware jams are once more an excellent foundation for his second release, solidifying the distinctive sound of the artist on this young label. Opener 'Gravitational' pulsating beats are a strong anchor for slowly unfolding harmonic stabs and a strong centrifugal energy. Glimmering patterns unfold as an umbrella; a projectile shoots past; the aftermath of a near-collision - there's no running from this mind-gazing adventure. On the same side 'Technological' pushes on with dramatic effect as noise interlocks with serenity. A devious and mesmerizing track. The flip starts off with 'Mechanical', the final clever contribution to this EP by 393AD. Propulsive kicks and startling low-end call & responses manifest infectious hooks and rhythmic interplay. This track is as serious as it is facetious. Finalising this EP is Maasym's remix of 'Gravitational'. Building on the urgent dynamics of the original, Maasym conjures a magical field of rhythm, intertwining the original with his own energetic pulses. Culminating finally in a compelling resurgence of the original's main stab.

F_Phono is an artist who has spent a significant part of his life immersed in the vibrant atmosphere of clubs, where he discovered a deep passion for electronic music. Through years of exploration across various musical genres, he found his true voice in a sound that blends Electro and Synth Pop, drawing clear inspiration from the iconic styles of the '80s and '90s. The result is a modern and distinctive sonic identity—deeply rooted in the past yet forward-looking in its execution.

"Santi e Peccatori" is an album that tells a story—one of ancient duality, where light meets shadow, the sacred meets the profane, and the physical collides with the spiritual. It explores the timeless tension between opposites: black and white, yin and yang, raw and ethereal. Through a seamless blend of driving, hard-edged beats and dreamy, melodic textures, this sonic journey invites both the mind and body to move. Each track is a chapter in a narrative of contrast and connection, where electronic music becomes the language of balance and transformation. Santi e Peccatori isn't just an album—it's a rite of passage through the grey spaces between extremes.

Mastered at : BurbiDub
Artwork : Marcos Pedrero

Some records are answers to questions no one asked out loud. With Where is Acid Eric, Cornelius Doctor & Tushen Raï deliver a psychedelic missive from a parallel timeline — a time-traveling tribute to Goa’s golden age, filtered through their unmistakable signature.

Returning to their home base, Hard Fist, the duo steps into new territory with this release, and yet, it feels like they’ve been heading here all along. This isn’t a retro-fetishist trip, nor a copy-paste homage. It’s a reimagination of a sound, a space, and most of all, a spirit.

The EP is rooted in the mythic nights of late-80s and early-90s Disco Valley, where British acid house collided with Indian hedonism, where freedom wasn’t a pose but a necessity, and where dancefloors became temporary utopias. But in the hands of Cornelius Doctor & Tushen Raï, this past gets warped, stretched and reanimated with 2025’s tools and sensitivities.

Across three extended tracks, the duo summons a sound that’s dense yet breathable, tribal yet precise, nostalgic yet futuristic.

They weave Goa’s swirling trance lines with broken rhythms, analog squelches, and post-industrial textures. The acid lines are sharp, but never cliché — more mantra than gimmick. Voices float in and out like half-remembered chants. Basslines slide, hypnotize, and then vanish in a cloud of smoke. It’s not a flashback. It’s a vision.

The title, Where is Acid Eric, feels like a lost broadcast — part question, part invocation. Eric is a symbol. IS Eric a ghost ? The true legend of a forgotten raver on a dusty Anjuna morning. What matters is the search. The longing. The dance.

Hard Fist, true to its form, continues to blur the lines between ritual and rave, tradition and invention. And with this record, Cornelius Doctor & Tushen Raï don’t just revive a genre — they reconnect with an ideal: dance music as exploration, as transcendence, as resistance.

One foot in the dust, one foot in the cosmos. The answer isn’t important. The trip is.

12th Isle founding member Stewart Brown and London-based percussionist Pike present six tracks born out of preparations for live shows at Cafe Oto and The Three Wheel Drive festival, the culmination of collaborating on ‘No Direction’ from the first Material Things album (with DJ support from Donato Dozzy, Orpheu The Wizard, Not Waving, I-Sha, Donna Leake, Optimo and Huntley & Palmers).

Inspired by various traditions of experimentalism, the pair touch upon reference points such as Eliane Radigue and Nurse With Wound’s “Soliloquy for Lilith” (on “Coastal Town”), as well as the wider canon of motorik, dub and drone practitioners over the past 60 years. Concerned with the interplay between early exports of free jazz and more modern electronics, Rain & Cymbals builds on the project's first outing with a more refined approach to production and a clearer modus operandi, combining ambient pads with additional synth work by Dan Macintyre, multifaceted percussion work and heads-down, emotive minimalism.

Lay Down The Groove returns with their first release in four years — and it marks a milestone. ChordPlay is the debut full- length album by the label heads, following their 2021 EP Pursuit of Sound.

Spanning seven tracks, the album captures a period of personal and artistic growth for the duo. Written and recorded across multiple studios and seasons over the past years, it flows effortlessly through tempos and moods while staying rooted in the pair’s emotive, synth-forward identity.

With a shift toward higher BPMs and more club-oriented energy — without losing the warmth and musicality that define the LDG sound dPlay signals a new chapter in the Lay Down The Groove story. Influenced by the rich legacies of Detroit and Chicago, the record features hardware-driven textures shaped by the Juno 6, SH-101, Prophet 8, Analog Rytm and MicroKorg.

Rooted in rhythm and feeling, ChordPlay captures Lay Down The Groove in evolution — looking forward while honouring their foundations.

Cody 'Coflo' Ferreira is hyped right now, and for all the right reasons. Spinning all over the world and producing killer tunes on all the right labels (including Local Talk).
But we think he is at his very best when he goes in the studio with US vocalist Lee Wilson. Even though they delivered some great tunes in the past, we can honestly say that this is the best one by far...yet.
The track 'We Can Make It' comes in two versions, one "soulful mix" for all the garage heads, and on the flip, there's a darker and more electronic mix (but still loaded with soul).

This project seeks connections between what is happening in biogenetics (cloning, biomechanical grafts), in art (the body as a territory to be redesigned), and all modern practices of intervention in music such as remixing, cutting and pasting, sampling.
To consider the sonic landscape as an unstable, moving cell culture, which allows experimentation on the body of musical pieces, on their chemical composition in an entirely artificial way. Surgical score, altered rhythms, reworkings.
Music is a mirror of what is happening in our time.

Since the late 1960s, jazz drummer Takeo Moriyama has been a dominant force in the free jazz scene, initially with the Yosuke Yamashita Trio, and more recently, collaborating with the KYOTO JAZZ SEXTET, earning respect from past to present. Recorded in 1980 with his quartet featuring Fumio Itabashi, this album is renowned for being the first to include the emotionally rich Japanese masterpiece "Watarase". Other highlights include the spirited "Exchange" and the beautifully poignant "Goodbye". Each track is a standout, offering a grand-scale performance where tranquility and movement organically intertwine, making it one of the top albums in the history of Japanese jazz.

Takeo Moriyama (Drums)
Yoshio Kuniyasu (Tenor & Soprano Sax)
Fumio Itabashi (Piano)
Hideaki Mochizuki (Bass)
Koichi Matsukaze (Alto & Tenor Sax, Flute)

The electronic producer Franz Kirmann returns to Bytes for his eighth solo album. The “Almadies” are long wooden boats used by Senegalese fishermen. It is also the name of the neighborhood where Kirmann grew up, in the suburbs of Dakar, Senegal, near the Atlantic Ocean. "These new compositions are the result of sound experiments conducted over the past few months and reflections on the concept of mind-constructed geographies," Kirmann explains. "The way memories and souvenirs shape an image of a place or country that is part reality, part fantasy, part cliché, yet also deeply personal. This experience is influenced by education, social background, history, and other socio-economic factors. " The ten tracks are crafted from collages of electronic sounds blended with field recordings from various places Kirmann has visited — from Dakar to the Caribbean, as well as London and Paris. His aim is to blur the line between electronically generated sounds and real soundscapes, creating music where it becomes difficult to distinguish the real from the constructed. All the sounds on the album were produced using synthesizers and field recordings. No drum machines, percussion or traditional acoustic instruments were used. Influences include Brian Eno and John Hassell’s Fourth World, Vol. 1: Possible Musics (1980), described by Hassell as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques" , which also works in the context of Almadies. Another big influence was Ariel Kalma’s Le Temps Des Moissons (1975) as well as artists including O Yuki Conjugate and Robert Aiki Aubrey Lowe to Susumu Yokota and Michael Banabila.

R.F.I. is the first collaboration between London-based drummer Andy Baxter (Robohands) and LA-based multi-instrumentalist Jack Barone. The EP focuses on Middle Eastern scales and features 100% analog instrumentation, including guitar, bass, synth, and drums. It was recorded using fully analog gear to achieve a warm, saturated sound. Trumpeter Cesar Apolinar Hernandez and vocalist Alya Olcan appear on tracks A1 and A2. The record's title references Radio Frequency Interference, and the B-side includes an etching of radio towers as a visual nod to that concept. R.F.I. was designed with a clear structure across its tracks and highlights the artists' shared interest in analog production and global musical influences.

With over 81,000 Spotify followers and nearly 10,000 vinyl records sold worldwide, Robohands has earned widespread acclaim, including support from BBC Radio 2's Jamie Cullum (Best in Jazz), Huey Morgan (Album and Beat of the Week), KCRW's Morning Becomes Eclectic, Soho Radio, and Paste Magazine. His music—an evolving blend of jazz, krautrock, and ambient—has landed on top editorial playlists such as Jazz Vibes, State of Jazz, and Mellow Morning. A prolific artist, Robohands has released five albums since 2018, beginning with his debut LP Green on Village Live Records. He has performed at leading international festivals including London Jazz Festival, Montreal Jazz Fest, and Waking Life in Portugal. Robohands' latest project sees him collaborating with LA-based composer and producer Jack Barone, known for his film scores and commercial work.

Dive into our latest release, a tribute to the vibrant spirit of Guadeloupean music. This track, born from the improvisational magic of the '70s, weaves together the legacies of the Latour brothers and the soulful essence of jazz. With a rich history of collaboration and creativity, we honor the past while
breathing new life into cherished melodies. Experience the rhythm, feel the memories, and let the good vibes flow.
Play it loud!

Break 3000 - Human Nature EP

A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.

“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.

“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.

The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.

Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.

All tracks mastered by Salz Mastering in Cologne.

Punching in with his debut vinyl EP for Fluid Funk, Chilean house producer Massiande follows up to a string of head-turning releases on an array of labels, including Jimpster’s Freerange Records. His much anticipated new offering, “Essential”, packs all the attributes of his vivid, floor-focussed vision, taking us on a bouncy ride across densely forested coastal house scapes and heavy-lidded electronics. Draped in washed-out pads and cottony textures, Massiande’s tracks have us floating in a chromatic daze of sorts, light-hearted and somewhat nostalgic, but above all hopeful and resilient.

A textbook slab of Massiande’s ever-expanding palette of woozy house tropes and silken disco touch, A1 “Tears” (also presented in bare instrumental form on the flip side B2) has it all, from the euphonic synths arrangements to the no-nonsense, club-igniting jack and irresistible footwork, via the infectious bass and Chicago-style soulfulness of its vocals. Proper fiery number and absolute weapon for any DJ seeking either impactful elegance in a peak-time context or to rekindle the flame when the after gets a bit too prosaic and requires that extra funky boost to get back on tracks. Grooviness exemplified.

More of a straightforward affair, A2 “Essential” unflappably beckons us on the path of utter vaporous escapology with its pulsating tableau of FX-soaked machine talk, semi-acidic bass and zero-G synthwork painting the sky all shades of pastel. The result is a rather captivating piece of weightlessly intuitive though carefully engineered sonic daydream. Injecting further oomph to the groove, B1 “Come On” pulls out a symbiotic collage of Sino-flavoured melody, Stax-ian vox sampling and straight out Detroit house-indebted propulsion, neatly showcasing both Massiande’s broad spectrum of influences and that idiosyncratic take of his on the said genres’ tried-and-tested leitmotivs.

Reintroducing Soar - the alias of Christian Aebi, serial DIY taper and one-man orchestra from Langenthal, a fog-shrouded town in the Swiss provinces. Krautophobia, ambient lo-fi agriculture, analogue soul balm and slowspeed psych gelati-blitz cardboard pop only gesture towards the sound world he coaxed from his broken Tascam four-track recorder, in attics, churches, junkyards and at the kitchen table.

The spark for Soar was likely time and space, somewhere in the autumn of 1994. Armed with a cable salad of Sixties guitar/bass, fairground drums, mould-speckled organs and toy instruments, Aebi coaxed five albums, an unverified run of 25 cassettes, and a handful of gigs. Mostly issued through Zurich label Corazoo, the records arrived in hand-pasted sleeves, rough-cut reproductions of his teddy bear-fixated artwork that carried the same imperfect immediacy as the music. With Rudi Steiner, performances in galleries, clubs and halls bent into live sound-image happenings - part installation, part film, part flea-market-instrument theatre - invariably leaving the house engineers bewildered.

At the time of his untimely death in 2021, Aebi remained a village secret, his music passed quietly between friends and local ears. Now, Swiss graphic designer and Ghost Riders compiler Ivan Liechti has pieced together a portrait from the afterglow, gathering tangled audio formats, paintings, illustrations, photographs and notebooks with his family, former label and peers. What emerges is a first glimpse of Soar's intimate cosmos - brushing against Füxa, Spectrum, Dump, Stereolab and King Crimson, but orbiting a dimension entirely his own.

“The high priest of country cool” - Rolling Stone

“I like him very much. He’s very special. He’s singing with a voice I never heard before” - Townes Van Zandt

“A conscious, soulful brother” - Horace Andy

“He’s a brother to me - one of the best singer/songwriters I’ve ever met” - Adrian Sherwood

“Unearthed mine of gems from inner Wales - a songbook of ideas - that's Jeb!” - Gilles Peterson

Jeb Loy Nichols is a bonafide Country (Got) Soul legend. The Music Maker presents 21 incredibly deep, grooving and soulful songs from the cream of Jeb's catalogue; from its earliest days to his latest unreleased gems via countless rare and unbelievably good lost-classics. This 2LP set is presented in a gatefold sleeve complete with freshly commissioned artwork courtesy of Jeb himself.

In collecting these uncut, under-heard gems, we hope to do justice to Jeb's jaw-dropping artistic brilliance. A man who, in working with Adrian Sherwood, Dennis Bovell, Dan Penn, Larry Jon Wilson and countless other legendary characters, has crafted some of the most deeply affecting folk, country, soul, funk, blues, dub, reggae, gospel, rap and electronic music, ever heard.

The first music Jeb really felt a connection with was southern soul: "I used to listen to the radio at night and fell in love with Bobby Womack and Al Green, The Staple Singers and Joe Simon – that whole Nashville/Memphis/Muscle Shoals thing.” But Jeb was so much more than a soul boy, Indeed, he "went to bluegrass festivals with my dad and come home and listened to jazz records with my mother.” And, when he was fifteen, he heard his first punk record: "God Save The Queen" by The Sex Pistols. “That and The Ramones completely changed me.” In 1979 he got a scholarship to go to art school in New York: “A great time. Punk was over but hip-hop was starting and I got into that in an obsessive way.”

His first recording, in 1980, was an unreleased rap song called "I’m A Country Boy". If that isn't an insight enough into Jeb's kaleidoscopic path through music, in 1981 he visited friends in London and found himself living in a squat with Adrian Sherwood, Ari Up (from the Slits), and Neneh Cherry. “Adrian put me to work immediately, moving boxes of records all across London. It was Adrian that was and is my biggest influence – in his complete disregard for genre purity.” So, presumably you're getting the picture? A veritable musical magpie with a voracious appetite and unimpeachable taste.

"Mine has always been a meandering career. I've done what I've done, and made the music I've made, due to chance meetings. I'm not particularly ambitious; it's more important to me that I work with friends and like-minded people. I've been a big fan of Be With for years. Everything they release is essential. When they asked about rereleasing "Countrymusicdisco45" I was both pleased and flattered. We began talking about how we'd do it; two years and twenty-one tracks later, here we are. I've always thought of the music I make as Country Music. Music conceived in the country, written in the country, recorded in the country. I left London and moved back to the country so I could live among the trees, the grasses, the animals, those things that don't go to war and get greedy. This compilation is the story of that life. Hand made, lo-fi, ramshackle, stripped down, real deal music. Heartworn and funky. Music made in the kitchen, not in the studio. As the great Skip Mcdonald said, Perfect ain't perfect. It's great to see all these tracks gathered together. It feels like a family reunion. Some older members of the tribe, some newer arrivals."

Opener "countrymusicdisco45" is a song Jeb wrote about how his crew lives, tucked up blissfully in the hills: "House parties full of country folk dancing to disco, reggae, soul, country, hip-hop. All night. I recorded it at home under the influence of Stevie Wonder." It's one of the funkiest records you'll ever hear. "Sometimes Shooting Stars" was recorded in Nashville and mixed by the legendary Dennis Bovell. It's deep, dubby, majestic. A thing of fragile, melodic beauty. The party ramps back up again with the undeniable groove of "Short Cut Home" before the profoundly moving "Disappointment" arrives. One of many songs he's recorded with good buddy Benedic Lamdin (aka Nostalgia 77): "We were going for a Leon Thomas meets Richard Brautigan meets Alice Coltrane kind of thing". We think they nailed it. "Days Are Mighty", like a lot of the tracks on this collection, "started life as a demo, an attempt to get something down while it was fresh. No frills, nothing fancy, just feel." And what feels!

The irrepressibly funky "Don't Dance With Me Tonight" is a deeply moving, slow-mo organ-drenched head-nod-funky country-ballad. Next up, the breezy "You Got It Wrong" was recorded in Wales with some of Jeb's good friends and neighbours, The Westwood All Stars, featuring Clovis Phillips and Will Barnes. Skanking fiddle-flecked gem "Ring The Bells" was the first thing Jeb recorded when he moved to Wales. A combination of all his loves; country, reggae, soul. It's followed by "Let's Make It Up", a truly sumptuous string-drenched emotional groover. "When Did You Stop Loving Me" is another Nashville track, written and recorded during a time Jeb was spending a lot of time with the Muscle Shoals crew, Donnie Fritts, Spooner Oldham, George Soule and Dan Penn: "It shows, I'm sure, their influence." Oh, you bet it does!

The swaggering country-funk of "Just Beginning" should grace many groove-focused DJs' sets whilst "Wintering Of The Year", again made with Clovis, is pastoral, campfire soul. The glacial, gorgeous "Let It Rain" is from an unreleased record Jeb made with the great British jazz bass player Andy Hamill and "We Tell Each Other Who We Are" is freaky country-soul made by a man with a love for strutting, wonky hip-hop stylings. Rounding out the side, "Trip To You" is pure, uncut amphetamine-propelled drum-machine soul.

The spare, beautiful "Dirt" is from an EP Jeb made with Julian Moore in his house in South London: "All first takes, straight to tape." Swoon! "Heaven Right Here" was a very minor league hit in America: "It was produced by the brilliant and much missed Wayne Nunes. It was started in the countryside of Missouri, finished in the countryside of Wales, and recorded in the countryside of Sussex." Double swoon! "If Later Ever Comes" is electronica meets J.J. Cale business whilst "Remember The Season" is truly wonderful and breezy guitar soul. "A Little Love" was made with Wayne Nunes as well, after a night of listening to Studio One and Northern Soul. Bouncy dub closer "Weary Traveller" was written by Bill Monroe, the hero of Jeb's youth: "Monroe's music was heavily influenced by black southern churches; I've tried to keep some of that feral feel." This was the final recording by Jeb's 1990s Country-Dub band, Fellow Travellers.

The name of this compilation comes from a time when Jeb lived in Peckham, south London and he used to DJ and sometimes perform at a local bar: "The owner of the bar, a Jamaican named Count Percy, once asked me what I called my music. I told him I wasn't sure, I guess just pop music. He thought about it for a minute and then said, 'no, more like mom and pop music'. Rather than call me a country singer or a folk singer he always referred to me as The Music Maker."

With the long overdue deluxe overview of his beloved music, we hope to finally shine a light on the unheralded genius of Jeb Loy Nichols. RIYL Larry Jon Wilson, Townes Van Zandt, Bobby Charles, country got soul artists, dub, deep soul, disco, dancing, heartbreak. This deluxe collection, spellbinding from beginning to end, should hopefully go some way to ensuring Jeb reaches an ever bigger, ever more appreciative crowd of followers. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The artwork has been lovingly put together by The Music Maker, himself, Jeb Loy Nichols. "Be With is the perfect home for this mongrel music. I am forever in their debt." The pleasure is all ours, Jeb.

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

Glimmers of a missing link in the connective tissue between the hardcore continuum and Dub-Spectrum arts. A tome all its own, as if one is sifting through an archeological dig in aural form, hearing layers of the past, present, and future.

France via Hong Kong, Taiwan and now Lisbon–based producer and DJ Romain FX delivers his Memory Muscle label debut, Floating World EP. As a true kid of the world, Romain FX draws on a life across continents to create a sound that fuses global influences with overground club sensibilities.

A prolific name on the scene over the past few years, he has released on Sound Metaphor’s Bless You, Sound of Vast, Kalahari Oyster Kult, Toy Tonics, and his own label Fauve. The EP opens with the title track Floating World, a percussive roller packed with drums, colourful synth stabs, and hypnotic swirling melodies that build into an ethereal vocal hook. Who Knows takes things further with crunchy acid lines locked to a pummelling breakbeat groove.

On the flip, Track ID? channels classic 90s house vibes with a stomping 909, bubbling basslines, organ stabs, and euphoric vocal samples. Rounding out the release, Memory Muscle’s London duo deliver a direct club remix of Who Knows, featuring filtered pads, driving breaks, 808 thump, and their signature M1 organ bass.

Tooflie's shadowy crate-diggers return for their sixth expedition, this time unearthingmelodic relics from the sands and stone of the SWANA region. The A-side opens with acharismatic locally-well-known Boris Timur from Azerbaijan, reshaping his half-crimechanson half folk music into a slinky, percussion-driven anthem that sways betweenmysticism and dancefloor intent. A2 dives deeper into the vaults: a cryptic cut built onearly hip-hop and electro intonations, stitched together from dusty Middle Easterngroove samples, looping like a mirage between past and future.
Turn to the B-side and the spotlight falls on a modern folk icon turned global cult heroOmar Souleyman. The first interpretation is a peak-time techno weapon, packed withfrenetic energy and built for ecstatic release. The closing track shifts gears in a slower,contemplative breakbeat journey that delves more deeply into the dabke tradition,stretching its spiraling melodies and communal pulse into a pre-dawn dreamstate.Once again, Tooflie fuses archival echoes and electronic invention into a spellbindingvinyl-only dispatch for dancers and diggers alike.

Matching brooding, tense undercurrents of drone with strained soulfulness, Malcolm Pardon makes a notable shift in his creative approach on his third album.

Leaving his piano behind, the Stockholm-based artist explores the richly varied tones lingering in the background of his past compositions.

Born from his extended live improvisation for Gustaf Broms’ Köttinspektionen exhibition in Uppsala, Flesh & Bonesbecomes a haunting suite of compositions focused on texture and spatial processing, mixed by longtime collaborators Aasthma (Peder Mannerfelt & Pär Grindvik). From Hidden Path’s cavernous wells of low-frequency tone to Under Over’s sustained synth blooms, and the woozy two-chord refrain of Speaking In Tongues, Pardon's seasoned approach to dramatic scene-setting leads his music into its own captivating, compelling sphere, where emotions entwine and conjure strange new plains of expression.