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Since his earliest days, Ben Frost has been fascinated by the cinematic qualities of the guitar. His output to this point has hinted at this, but with »Steel Wound« he makes a bold statement of intent.

Finding his way to a deserted stretch of Johanna Beach along the Great Ocean Road (Victoria, Australia) in early 2003 Frost set up a remote studio at a derelict cabin overlooking the icy waters of Bass Strait. With a constant wind flowing off the sea his only companion, Frost started work on a series of improvisations that would eventually become »Steel Wound«. A few months go by and Frost has made his way back to civilization. He begins editing the masses of treated guitar from the Johanna Beach improvisations and before long a theme takes hold - one that very much reflects the isolation of the environment where the tracks were created.

Each of the pieces on »Steel Wound« is a epic journey, coloured with a deep sense of filmic narrative and suggested dialogues. The textural quality of the works, laced with field recordings and lost vocal fragments, sketches out the emotional soundscapes Frost had unwittingly gathered during his time at Johanna Beach. Each piece is a splintered fragment in time – a forgotten memory beautifully rediscovered in a moment of introspection.

Howard Shore’s Academy Award and Grammy-winning score for The Fellowship of the Ring is a platinum-certified masterpiece. This iconic album features two original songs by Enya, "May It Be" and "Aníron (Theme for Aragorn and Arwen)." A must-have for any Lord of the Rings fan, this timeless soundtrack continues to inspire generations.

Focus, integrity and substance, all allied to a relentless work ethic and that essential (if indefinable) sprinkling of magic dust, have kept Nick Warren at the top of the electronic music tree for not far short of forty years.

In that timespan, Nick has been tour DJ for Massive Attack, held a residency at Cream, been a Glastonbury regular, and become the UK’s most successful export to Argentina (in no small part due to his touring brand The Soundgarden). As half of Way Out West, he has helped write (and re-write) the rule book for club-based electronic acts, achieving true longevity without compromise. He has curated over a dozen essential compilations – a mainstay of the Global Underground series whose heavyweight influence is still felt to this day, an in-demand decknician for pivotal brands such as Renaissance and Balance, and the very first DJ entrusted with creating a blueprint for the now iconic Back to Mine series.

It's quite the CV, a career many can only dream of. But Nick has long had one further itch in need of scratching. Inspired at a young age by his dad’s Jean-Michel Jarre and Tangerine Dream albums, coming of age with experimental labels like 4AD and Factory, roots deep in the dub-wise scene of his native Bristol, a long time collector of exotica and obscure film soundtracks…all that knowledge and passion has long been crying out to be channelled into a Warren solo album.

All of which brings us to the career-defining Turbulence. The world is certainly a turbulent place as Nick gets set to unleash his masterwork, but the musical turbulence at work here arguably takes its lead from other interpretations of the word – turbulence as a feeling of heightened intensity, turbulence marked by a sense of unpredictability.

Turbulence is a window into Nick’s musical soul, and the myriad styles and influences that reside there, drip-fed into a melodic melting pot to create a unique sonic stew. Tempos and styles switch and interlock effortlessly, the mood ebbs and flows like the best DJ sets, and the running order, from the ethereal opener Loveland all the way through to the achingly beautiful closing cut Sadly (in tandem with Tripswitch, one of several noteworthy collaborations) showcases an artist at the top of his game, and with a deep understanding of the concept of the long player.

We all need some turbulence.

"Later Than You Think" erscheint bei seinem neuen Label YOUNG und beschäftigt sich mit Themen wie Trauer, Gerechtigkeit, Wiedergeburt, Transformation und spirituellem Kampf. Es ist ein Werk von Bekenntnis und Konfrontation, für das sich Affekt, Intellekt und Geist auf der Suche nach dem Schönen, der Wahrheit und dem Realen zusammenschließen. Entstanden ist das Album in den Ozarks von Missouri. Die 16 Tracks vereinen Elemente und Gegensätze wie Üppigkeit und rohe Reduziertheit, das Heilige und das Profane, minimalistische Disziplin und maximale Schwelgerei, Kontrapunkt und simple Popharmonien. Im Kern unterstreicht das Album aber vor allem Maus" Hingabe an radikale Aufrichtigkeit und emotionale Wahrhaftigkeit in einem Zeitalter der Entfremdung - angetrieben von Konfrontation, Glauben und der tiefen Überzeugung, dass Sinn und Bedeutung noch immer etwas meinen. Maus, der einen Abschluss in Experimental Music und einen Doktortitel in Politikwissenschaft hat, wurde für die Art und Weise, auf die er akademische Sorgfalt und Lo-Fi Synthpop-Ästhetik verbindet, mal als "philosopher pop star" mal als "analog futurist" bezeichnet. Sein Wirken zieht sich dabei quer durch die Popkultur - von der Grime-Ikone Skepta, der seinen Track "I"m Only Human" sampelte bis zum Gen-Z-Rapper nettspend, von Filmemacher Josh Safdie ("Uncut Gems") bis zum Fotografen Wolfgang Tillmans. Sein Track "Cop Killer" ist im 2025er Film "Friendship" mit Tim Robinson und Paul Rudd enthalten. Mit exzessiven Liveshows und seinen bislang erschienenen Alben, auf denen Ironie, Trauer, Freude und Absurdität stets dicht beieinander liegen, hat Maus einen einzigartigen Weg beschritten und sich eine ergebene Fanbase erspielt.

On September 26th, 2025, two decades and seven albums into his career, American musician, composer, and academic John Maus will release his most transcendent work yet: Later Than You Think. Arriving via his new label YOUNG, the album explores themes of grief, justice, rebirth, transformation, and spiritual warfare - coalescing into a work of confession and confrontation: an aural metaphysics where affect, intellect, and spirit converge in search of the beautiful, the truth and the real. Written, produced, and recorded in the Ozarks of Southwest Missouri, Later Than You Think spans 16 tracks and contains multitudes - the lush and the bare, the sacred and the profane, minimalist discipline and maximalist indulgence, counterpoint and simple pop harmony. At its core, the album reaffirms John Maus’ commitment to radical sincerity and emotional truth in an age of alienation. Powered by confrontation, faith and transformation - driven by the urgent belief that meaning still matters, and time is of the essence. Holding a degree in experimental music from CalArts and a PhD in political science from the University of Hawaii, Maus has been dubbed a “philosopher pop star” and “analog futurist” for the way he merges academic rigor with lo-fi synth-pop aesthetics. His influence spans genres and generations—from UK grime icon Skepta, who sampled his track “I’m Only Human,” and Gen-Z rapper nettspend, to filmmaker Josh Safdie, actor Natasha Lyonne, and photographer Wolfgang Tillmans. His track “Cop Killer” features in the 2025 film Friendship, underscoring his continued relevance across high and low culture. With five previous albums under his belt - Songs (2006), Love Is Real (2007), We Must Become The Pitiless Censors of Ourselves (2011), Screen Memories (2017) and Addendum (2018) - Maus has carved out a singular path where irony, grief, joy, and absurdity can coexist and gained a cult following along the way. On Late r Than You Think Maus doesn’t just return—he confronts, confesses, and transforms. The result is not only a career-defining work, but a rare artistic offering: one that dares to believe in meaning, beauty, and the possibility of transcendence

NOW Music proudly presents the next release in our “NOW That’s What I Call An Era” series - Such A Good Feeling: 1988-1995 – a euphoric celebration of a truly transformative time in music.

This stunning 3LP set pressed on blue, white and yellow vinyl showcases 46 essential tracks that soundtracked the dancefloors, charts, and airwaves from the late ’80s through the ’90s — an era when dance culture reshaped the mainstream, soundtracked a generation, and lit up the charts across the UK and beyond

LP1 – Side A opens in style with ‘Such A Good Feeling’ from Brothers In Rhythm, this collection’s inspiring title…followed by Black Box with ‘Ride On Time’ — the best-selling UK single of ’89, and one of dance music’s defining tracks. Massive club classics continue with C+C Music Factory’s ‘Gonna Make You Sweat (Everybody Dance Now)’, house anthems from Inner City with ‘Good Life’, and ‘Dirty Cash (Money Talks)’ from Adventures Of Stevie V, plus dance-pop gems ‘Not Over Yet’ from Grace, and Billie Ray Martin with ‘Your Loving Arms’…Flip the LP over for the pioneering ‘Theme From S-Express’, a chart-topper from 1988, before dancefloor earworms from Kenny “Dope” Presents The Bucketheads with ‘The Bomb! (These Sounds Fall Into My Mind)’, Nightcrawlers with ‘Push The Feeling On’ and ‘People Hold On’ from Coldcut and Lisa Stansfield. The influential ‘Beat Dis’ from Bomb The Bass is up next ahead of Tony Di Bart’s #1 ‘The Real Thing’, Saint Etienne’s sophisticated dance-pop nugget ‘He’s On The Phone’, and LP1’s closer from D:Ream with the Perfecto radio remix of ‘U R The Best Thing’.

LP2 – kicks off with a run of electrifying Eurodance – all massive club anthems. ‘Rhythm Is A Dancer’ from SNAP! leads off; a UK No. 1 and another defining track of the decade – followed by smashes from Corona, Real McCoy, Dr. Alban, Haddaway, KWS and Cappella, before the side closes with the techno-pop of Opus III with ‘It’s A Fine Day’… The party continues on Side B with an irresistible lineup led by Deee-Lite with ‘Groove Is In The Heart’, their brilliant fusion of funk, house and pop that continues to be a massive floor-filler… as is ‘Dreamer’ from Livin’ Joy, a 1995 No. 1 smash, and vocal house classic ‘Finally’ from CeCe Peniston. Urban Cookie Collective scored a huge hit with ‘The Key, The Secret’, which is followed by the rave energy of Oceanic, N-Trance, Felix – and Utah Saints who sign-off LP2 with the epic ‘Something Good’.

Kicking off the final LP, Side A explodes into life with massive feel-good tunes:- Yazz & The Plastic Population’s ‘The Only Way Is Up’ – a 1988 No. 1 and landmark UK house hit ahead of 49ers with ‘Touch Me’ and Baby D with their #1 ‘Let Me Be Your Fantasy’. Another run of floor-fillers from Rozalla with ‘Everybody’s Free (To Feel Good)’, JX with ‘Son Of A Gun’, Blue Pearl’s ‘Naked In The Rain’ and ‘U Sure Do’ from Strike follows and the side closes with the electronic acid house of ‘Killer’ from Adamski that hit the top of the charts and introduced Seal… and over on the final side, the collection moves toward it's close with stunning and enduring tracks of the era – opening with Soul II Soul & Caron Wheeler’s #1 ‘Back To Life (However Do You Want Me)’ blending soul, R&B and club rhythms to perfection, while Beats International’s fusion of dub reggae and house: ‘Dub Be Good To Me’ (another chart-topper) follows with its iconic bassline and leads us into the stylish and smooth ‘Turn On, Tune In, Cop Out’ from Freak Power. The journey through this incredible era is completed with genre pioneers The Prodigy with ‘Charly’, ‘Infinity’ from Guru Josh, and closing with ambient house, ‘Pacific - 707’ from 808 State, and the timeless ‘The Sun Rising’ from The Beloved.

An unforgettable journey through the sounds that defined an era:- NOW That’s What I Call An Era - Such A Good Feeling: 1988-1995 — the definitive celebration of a golden age of dance music.

2025 Repress

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

Austin Ato is back with Vol 2 of his I Love Your Edits series. “Lisa” is a rolling, modern house take on an early 2000s forgotten hip hop banger. “Carnival” is a rework of a jazz-funk classic with whole new layers of live keys and chopped-percussion. Was built to be a DJ set closer. “Human” reworks our Icelandic queen into a swung, deep house tune. “Pop Off” takes French disco, chops it up and lays fat synth basslines over it.

Limited Pressing get in quick!

Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

In the final month of 2024, Meitei arrived in Beppu, a city long steeped in vapor, myth, and mineral memory. Invited to create onsen ambient music commemorating Beppu’s 100th anniversary, he immersed himself in the city’s geothermal psychogeography, where sound rises from the ground and time clings to mist.

Known for his Lost Japan (Shitsu-nihon) works, which channel forgotten eras into flickering auditory relics, Meitei took residence in the warehouse of Yamada Bessou, a century-old inn perched by the bay. Over two weeks, he listened intently to steam, to stone, to the atmosphere itself. The resulting work, Sen’nyū, traces the inner spirit of onsen culture. Like water finding its path, the music emerged with quiet inevitability, shaped by Meitei’s synesthetic sensibility and deep attunement to place.

Equipped with a microphone, he wandered Beppu’s sacred sites: Takegawara Onsen, Bouzu Jigoku, Hebin-yu, and the private baths of Yamada Bessou. There, he captured the breath of the springs, bubbling mud, hissing vents, wind against bamboo, and the murmurs of daily visitors. These field recordings became the sonic bedrock of Sen’nyū, an act of deep listening that attempts to render even the rising mist and shifting heat into sound.

Unfolding as a single, continuous piece, Sen’nyū drifts like fog through sulfur and stone. It traverses the veiled madness of Bouzu Jigoku, the spectral resonance of Yamada Bessou’s inner bath, and the hushed voices of Takegawara Onsen. It is a gesture of quiet reverence, for water’s patience, the land’s memory, and the hands that have bathed here for generations.

Where Meitei’s earlier works conveyed his personal impression of a fading Japan, Sen’nyū is grounded in tactile presence, music not imagined but encountered. Here, his practice moves closer to the spirit of kankyō ongaku, environmental music born from place, shaped by it, and inseparable from it.

As part of the project, Meitei conceived a two-day public sound installation inside Takegawara Onsen, culminating in a live performance. Bathers soaked in mineral-rich waters while submerged in sound, an embodied ritual of place, body, and listening.

Sen’nyū marks Meitei’s first full-length work centered entirely on onsen and opens a new chapter of his Lost Japan project under the expanded title 失日本百景 (One Hundred Lost Views of Japan), a series exploring extant sites of longing still quietly breathing within contemporary life. The album will be accompanied by Meitei’s first photo book, a visual document of his time in Beppu. A new layer is added to the world he has, until now, built only through sound.

Sen’nyū continues Meitei’s devotion to Japan as subject, while opening new terrain: both ritual and remembrance, an immersion into the mineral soul of Beppu.

2025 marks the 50th anniversary of Led Zeppelin’s iconic sixth album, and their first double LP, Physical Graffiti.

To celebrate this landmark, Led Zeppelin will release an updated 50th Anniversary edition of 2015’s Physical Graffiti Deluxe Edition 3LP vinyl set, on 180g black vinyl, still featuring the Companion Audio disc, and now including a new bonus replica Physical Graffiti promotional poster (sized 443mm x 610mm).

Released on February 24, 1975 in the US (and four days later in the UK), Physical Graffiti immediately achieved platinum sales status and has recently been certified 17x platinum in the United States.

The two-time GRAMMY Nominated timeless album, Malibu. After dropping his debut album, Venice, in 2014, and then being featured on six tracks on Dr. Dre’s Compton album in 2015, 2016’s Malibu marked a major landmark moment in Anderson .Paak’s now storied career and paved the way for him to be the household name he is today. Known by many as one of the best live performers around, and with countless brand collaborations, sold out tours, chart topping albums, and even a joint album with the legendary Bruno Mars to his name, it’s safe to say that Anderson .Paak has reached Icon status. This classic catalog piece features appearances from Schoolboy Q, The Game, BJ The Chicago Kid, and more.

Die legendäre Vinyl-Serie für alle Italo Disco-Fans geht in die nächste Runde!

Mit The Italo Disco Collection Vol. 3 erwartet dich eine exklusive 4LP-Box, randvoll mit den größten Klassikern der Italo Disco-Ära der 80er Jahre – ein Muss für Sammler, Nostalgiker und Liebhaber des typischen Synthie-Sounds.

Diese Box bringt den Sound der Tanzflächen der 80er Jahre zurück – authentisch, analog und mit jeder Menge RetroFeeling. Ideal für DJs, Fans der Italo Disco-Szene oder als stilvolles Geschenk.

Experience the magic of a timeless classic reborn: this exclusive 7" vinyl features a brand-new remake of the iconic "I Believe in Miracles", produced by French groove maestro MonsieurWilly and performed by the radiant soul vocalist Natalie Nova. With a perfect balance of vintage disco vibes and fresh production finesse, this release breathes new life into the legendary track, making it both nostalgic and clubready. Adding to its irresistible charm, the remake is infused with a Latin summerinspired rhythm—a driving, syncopated beat that designs the heartbeat of Latin music. Ment to be upbeat and danceable, the track incorporates percussive grooves, rhythmic guitars, and tasteful electronic elements to create a vibrant, sun-soaked atmosphere that feels right at home from beach bars to dancefloors. The collaboration between MonsieurWilly and Natalie Nova delivers a unique blend of soulful warmth, infectious energy, and rhythmic flair. Natalie Nova’s powerful vocals shine with emotion and style, while MonsieurWilly’s production wraps it all in a groove-heavy, analog-inspired soundscape. This 7" is pressed on high-quality vinyl and is ideal for collectors, DJs, and lovers of soul, disco, and feel-good summer anthems. Don't miss this limited edition release - proof that miracles still happen on wax.

A multidisciplinary artist, and avant-garde icon in her own right, Little Annie leaves little room for an introduction that is worthy of her prolific career. She has remained relevant for over four decades through her innate spirit of experimentation and the multiplicity of her genre-bending collaborations with artists traversing the globe such as Adrian Sherwood, Swans, The Wolfgang Press, Kid Congo, Current 93—the list goes on!

For this release, Noir Age is proud to present a 7” single of new material from Little Annie in collaboration with South Florida-based producer and label owner Richard Vergez, recording here under the moniker of Night Foundation. Annie and Richard met back in 2016 after a gig at the ICA in Miami through their mutual friend: Drew McDowall of Coil.

Sharing a requited spirit for visual art and music, they became fast friends and began collaborating, conjuring what you hear on this release: Inertia.

Edition of 300 records, each housed in a silkscreened, custom black 7" envelope jacket with newsprint insert.

Reviewed in The Wire magazine:

"Night Foundation is one of the current electronic projects envisioned by Florida's Richard Vergez. In this instance, his work is smooth and bassoid enough to have a vague dancefloor-friendly feel without being overtly prancy. This notion is enhanced by the presence of a dub B side, so things are not as dark as with most of Verge's projects. But they're still not sunny. Of course, Little Annie's lyrics and casual vocals have more in common with urban menace than sunshine pop, so the pairing works quite well."

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
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Lucy Duncombe and Feronia Wennborg compose a modern symphony for virtual choir on 'Joy, Oh I Missed You', muddling sound poetry with Nuno Canavarro and ‘Systemische'-style machine-damaged surrealism. Like a mashup of Lee Gamble's 'Models', Akira Rabelais' 'Spellewauerynsherde' and Robert Ashley's timeless 'Automatic Writing’ screwed to perfection.

Duncombe and Wennborg have been chewing over ‘Joy, Oh I Missed You’ for four long years, working their process until they were "queasily intimate" with their arsenal of artificial voice tools. Tracing the history of the technology, from voice synthesisers and chatbots to AI voice analysis tools, the duo experiment relentlessly to develop a digital-age response to IRL extended vocal technique - think François Dufrêne, Yoko Ono or Phew. Less interested in replicating human sounds exactly, they instead test how various tools might cough up their own idiosyncratic tics as they stretch and stutter through attempts to mimic their "fleshware" counterparts.

Duncombe's got prior form here, most recently re-synthesising her voice on the brilliantly oily 'Sunset, She Exclaims' 45 for Modern Love, following a stunner for 12th Isle in 2021. Wennborg brings along experience from her tenure as one half of microsound duo soft tissue, whose 2022 LP 'hi leaves' (Students of Decay) was a haptic treasure. These approaches mesh remarkably well on their first collaborative full-length, with Duncombe's eerie bio-electronic incantations providing the ideal foil for Wennborg's carbonated hardware processes. It's not completely clear where the human voice ends and the zeroes and ones begin on 'Your Lips, Covering Your Teeth', as rolling cyborg syllables tumble over OS-startup womps and surprisingly svelte outcroppings of glassy, synthetic glitches. The music is surprisingly mannered, a sonic reflection of the cover, where a mouth is pixellated until only colour swatches remain. Duncombe and Wennborg trace the gradual erosion of their voices, leaning into the chaos as their various tools veer off into unique patterns of failure.

What sounds like a far-off, ghosted folk rendition (we're reminded of the Icelandic laments that Rabelais chewed up on 'Spellewauerynsherde') is offset by gnarled, bitcrushed machine faults and pneumatic lip smacks on the brilliant 'Residue', and on 'Brushed My Hair', the duo massage the voice until it sounds like a flute. Assembling stutters and barks and sighs into a celestial chorus alongside time-stretched moans, they create a levitational atmosphere on 'Smell It', freezing the energy from bizarre pitch steps to configure a zonked vocal ensemble.

'Joy, Oh I Missed You’ is an album that, like its source material, constantly morphs, testing the boundaries of its concept repeatedly without bubbling over into conceptual goo. In fact, it's remarkably euphonious, even at its most theoretically abrasive; Duncombe and Wennborg wring out uniquely angelic formations through a process of trial and error that packs a surprising, hefty emotional punch.

Death Is Not The End release a second part collecting pre-partition film music, compiled by Gary Sullivan of Bodega Pop.

As the 1940s began, South Asian cinema entered a transformative phase. Playback singing, still a new idea in the previous decade, quickly became standard practice. Actors no longer had to sing, and singers no longer had to act, opening the door to a wave of dedicated vocal talent that redefined the sound of the industry.

Voices like Noor Jehan, Shamshad Begum, and Suraiya rose to prominence, becoming household names across the subcontinent. Behind them, composers like Naushad, Anil Biswas, and Ghulam Haider were expanding the sonic palette of film music, blending ragas with Western orchestration, folk tunes with jazz-era instrumentation. Harmoniums, sarangis, violins, accordions, and clarinets filled out increasingly complex arrangements, while ghazals and qawwalis continued to influence mood and structure.

Although the post-Partition years are often considered to be Bollywood's "Golden Age," thanks to filmmakers like Raj Kapoor, Bimal Roy, and Guru Dutt, the music started its peak just before the divide. By 1947, Naushad and others were producing some of the most emotionally rich and musically intricate work in the industry's history, compositions that would prove challenging to surpass in the decades that followed.

Yet this high point came during a time of immense upheaval. The Second World War, the Bengal famine, and the crumbling of colonial rule all loomed large. Film songs often reflected the uncertainty, sometimes mournful, sometimes romantic, sometimes defiant. And when the Partition finally came, it fractured the world that had created this music. Artists became refugees, studios were split, and careers were thrown into flux. Noor Jehan, who would go on to become Pakistan's most iconic singer, recorded many of her most beloved songs in Bombay. Khursheed, another major star, faded from public life after migrating. K.L. Saigal, a towering figure of the 1930s and '40s, died in Lahore just months before the split.

This collection spans those final years before Partition, a time of creative flowering and looming catastrophe. Like Part 1, these songs were sourced from immigrant-run music shops in New York and New Jersey. They are fragments of a vanishing world, each one a snapshot of the art, longing, and resilience that defined this extraordinary era.

ZUG is without a doubt one of the leading and most compelling forces in contemporary European body and minimal electronic music. Once again joining forces with Oráculo Records, they present a retrospective that traces the arc of their already extensive and influential career. The result is a powerful compilation that blends previously unreleased material with some of their most iconic tracks to date—specially remixed and remastered for this edition. Every piece captures ZUG’s signature approach: a fusion of machine precision and raw physicality that transcends genre limitations. Tailored for fans of truly experimental, humanized electronica, primal drum patterns, and proto, body-shaking basslines, this release is a visceral listening experience from beginning to end. This is body music in its purest form. Presented in a ONE-OFF, truly limited edition of 300 copies, lacquer-cut and pressed on 180g high-quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

To mark a decade as one of Ibiza's most iconic musical sanctuaries, Hostal La Torre announces 'La Torre Ibiza Volumen Cinco', a new compilation curated by long-standing residents Pete Gooding and Mark Barrott. Released June 27 on CD and double vinyl, the 15-track collection captures the spirit of the venue that has come to define the golden-hour soundtrack ofthe island's west coast.

Since opening in 2015, La Torre has established itself as a bastion of Balearic culture-set high on the cliffs overlooking the sea, where music flows with the sun rather than the clock. The fifth volume in the celebrated La Torre series is a journey through Brazilian soul, ambient electronica, classic deep house, orchestral minimalism, and dusk-lit Detroit techno-an emotional arc designed to mirror the progression of an evening at the venue.

From timeless icons like Nina Simone, Mazzy Star, Talk Talk (with their Spirit of Eden closer "Wealth"), and Boards of Canada, to boundary-pushers like Auntie Flo, Eden Burns, and µ-Ziq (aka Mike Paradinas), Volumen Cinco weaves together deep-rooted classics and leftfield discoveries. Mark Barrott contributes a brand-new exclusive, 'When Devils Become Gods', while the compilation closes on a rare gem from Yellow Magic Orchestra's Yukihiro Takahashi. Also includedis Software's 'Present Voice', a quietly powerful tribute to the late José Padilla, the spiritual architect of Ibiza's sunset sound.

Volumen Cinco is more than just a listening experience-it's a tribute to La Torre's ethos: open-hearted, genre-fluid, rooted in place and time. Each track is carefully sequenced to evoke a feeling, a shift in light, or a shared memory beneath the fading sun.

Over the years, La Torre has welcomed some of the most influential names in Balearic and electronic music, from José Padilla, Alfredo, and Jon Sa Trinxa to DJ Harvey, David Holmes, Lovefingers, Heidi Lawden, Wolf Müller, Don Carlos, and Phil Mison. With each summer season and each release, the venue continues to build a musical legacy that has earned critical acclaim from Resident Advisor, Phonica Records, Juno, and Piccadilly Records, regularly featuring in their year-end lists.

As Test Pressing once wrote, "La Torre is not a party, it's a place of pilgrimage. It feels almost sacred." That spirit resonates deeply in this anniversary compilation-a celebration of music, community, and connection that spans a decade.

La Torre Ibiza Volumen Cinco is dedicated to the artists, friends, collaborators, and guests who've shaped its story so far-and to everyone who continues to gather, listen, and lose track of time as the sun slips beneath the horizon.

Repress!

Sophomore release from the acclaimed trio of Inspectah Deck (Wu-Tang Clan) And 7L & Esoteric. Features MF Doom, GZA, Method Man, Large Professor, Juju Of The Beatnuts, Ra The Rugged Man, & Meyhem Lauren. Packaged in a 70+ Page Hardcover CD Casebook / 2LP on Clear vinyl with Lyrics & Cover Art From L'amour Supreme (Mishka NYC). Includes a comic, written by Esoteric with artwork by Gilberto Aguirre Mata (El Ultimo Codice) & L'Amour Supreme. CZARFACE - Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric - isn't concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group's fans. In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the '90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante. This time around the group is the same, but it's fair to say that all three men have stepped up their game. We knew how we felt about the last album, but weren't sure how it would be received by listeners,' explains MC Esoteric. But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2.' Inspectah Deck adds, Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I'm in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I'm here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit...I love that. I love when i can just spit freely and just be an MC.' The fighting analogy - whether drawn from pugilism or '80s wrestling, both which figure into Every Hero Needs A Villain - is an apt one, considering the unrelenting lyrical attacks that Deck and Esoteric unleash on track after track, each trying to one-up the previous verse. Best of all, it is friendly camaraderie, based around a loose theme of renegade mutant MC talents running wild. DJ 7L explains, All three of us are influenced by comics, sci-fi movies, TV, wrestling. Czarface encompasses all of that, and it helps with the visuals as well.' On the production side, 7L shows yet again - as he did with the group's debut - that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths. If that wasn't enough, it's all iced with a ridiculously intricate and beefy 70-plus page, hardcover CD casebook with lyrics and extensive artwork by Gilberto Aguirre Mata (El Ultimo Codice) and L'amour Supreme, and with Death & Abduction,' a comic written by Esoteric, and an explosive, comic-book-inspired cover by L'amour Supreme (Mishka NYC).

01. Don The Armor
02. Czartacus
03. Lumberjack Match
04. Nightcrawler (Feat. Method Man)
05. World Premier (Feat. Large Professor)
06. The Great (Czar Guitar)
07. Red Alert
08. Junkyard Dogs (Feat. Juju Of The Beatnuts)
09. Sgt. Slaughter
10. When Gods Go Mad (Feat. Gza)
11. Ka-Bang! (Feat. Mf Doom)
12. Deadly Class (Feat. Meyhem Lauren)
13. Escape From Czarkham Asylum
14. Sinister
15. Good Villains Go Last (Feat. Ra The Rugged Man)

"tilt your back
pay respect
hand on heart

we were raised without table,
without manners,

where is it we gather this time?


In ‘Of No Fixed Abode,’ Saint Abdullah and Eomac extend their experimentation with genre dissolution to press upon the tensions that exist between culture, place, and migration. This fourth collaborative LP addresses the inherent fluidity of cultural memory, accepting our inability to remain fixed in the past, and explores how best to carry its spirit forward into an ambiguous future.

Through extensive research into 50 years of Persian pop, they meticulously reinterpret the legacies of artists like Andy, Hayedeh, and Fereydoun Farrokhzad, refracting samples by way of gritty beat work-outs akin to more contemporary musicians like Rezzett and Madlib. Through extensive archival research and sampling, they recontextualise these iconic melodies, placing reverie and frenetic drum programming in conversation with one another in a fashion that seeks to express a sense of two disparate tendencies cohabiting together, all while refusing homogenization. This reimagining extends beyond mere homage, serving as a conduit for exploring the narratives of migrant experiences, both in the UK and globally.

Sonically ‘Of No Fixed Abode’ plays with new sampling techniques, utilising the quick-fire intensity of the Roland SP404 with the cool precision of digital DAWs, and features collaborations with drummer Jason Nazary, sound artist Aria Rostami (both New York based), New Zealand-based mHz, and a vocal collaboration with London-based artist and musician Raheel Khan."

For the fourth release on her celebrated record label Uppers and Downers, Dr.Rubinstein returns to the producer's seat with Take This Pill, a new 3-track EP that showcases the dynamic, ever-widening range of her signature acid sound. Lacing lively dancefloor cuts with a dose of personal storytelling and a playful yet honest take on mental health, Take This Pill delivers on Rubi's distinct ability to honor classic rave sensibilities while also always imparting her own unique twist.

The title track journeys from dark, acid-laced electro breaks into a shimmering wash of euphoric synths, energized along the way by drumrolls, hoovers, and a vocal refrain repeatedly voicing the Doctor's prescription: "Take this pill!" More than just a nod to classic XTC bangers, "Take This Pill" explores the emotional spectrum of neurodivergence and the pharmaceutical pathways many embark upon on a quest to "fit in," mirroring the lived experience of internal struggle giving way to external composure.

Things shift up a few gears on track two, the aptly-titled "No Brainer," a relentlessly energetic, no-nonsense stomper designed with the soul purpose of making you move. The track features sidewinding Goa-tinged acid lines swirling through a hard trance kick scape adorned by with soaring strings and shimmering cymbal rolls.

The EP concludes with a gorgeous, melodic rave-infused cut that shows a more tender, reflective side of Rubinstein's repertoire. Referencing one of Rubi's favorite tunes, The KLF's iconic "3 AM Eternal," diaphenous ambient vocals soar over a melancholic acid ballad that, never to be taken too seriously, is punctuated by humorous woops and cheeky rave whistles.
With Take This Pill, Dr. Rubinstein invites listeners into her world-one where vulnerability, humor, and acid rave euphoria collide. A perfect addition to her label's growing catalog, Take This Pill upholds the mission of Uppers and Downers: to collect and circulate timeless, tried-and-true tunes that celebrate the uplifting, affirmative power of rave music.

(3*12”, silver vinyl) We’re thrilled to announce the release of “The Mackenzie - Classics EP 2”, the long-awaited follow-up to the popular EP 1 everyone was excited about. This limited edition pressing comes on stunning silver-colored vinyl, with only 500 copies available worldwide. Housed in a deluxe threefold sleeve, this release is a true collector’s item.

The Mackenzie name is legendary in the Belgian trance scene, and this EP brings together some of their most sought-after classics and overlooked masterpieces. Each track has been carefully remastered for 2025, breathing new life into these timeless anthems. This EP 2 is spanning over more than 2 decades of hit releases, amongst of them are “Falling In Love”, “Walk Away”, “All I Need” and “You Got To Get Up”.

Expect rich melodies, mesmerizing builds, enchanting vocals, and that unmistakable 90s spirit that made “The Mackenzie” iconic in trance. This is not just the successor of EP 1 – it’s the final chapter in a tribute to the golden era of Belgian quality trance music.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

Exos returns to Mutual Rytm for second standout EP, 'Icebreaker'.

A renowned global talent, Iceland's Exos was last on Mutual Rytm earlier this year with his successful 'Infrared' EP in April. The debut release on the label's new 10" vinyl X-Series, the EP picked up a wealth of high-profile plays while delivering an absorbing journey through techno soundscapes. The release was followed up by his 'Evil Nation' LP, exploring a harder, more intense approach to techno on his own Planet X imprint, ext to tunes on the likes of Figure and X/OZ. However, he returns with more skilfully crafted ammunition across five stand-out productions and two digital bonus gems on SHDW's burgeoning imprint for a second outing packed with his trademark sound spanning mystic yet driving and impactful spheres.

The package opens up with 'Voices Of Volcano', a powerful track with a monstrous low end and quickened drum kicks that compel you to march in time as the twisted synths peel away up top. 'Enter The Danger' has a steamy feel, as if racing through a humid jungle with the sounds of bird calls and haunting voices next to the loopy percussion and driving rhythms.

The brilliant 'Icebreaker' keeps up the intensity with more precision drumming working dancers into a meditative state while the cosmic synths grow up out of the groove to become bright and unsettling. 'Mocoa Beats' is another warm techno cut that fizzes with synth energy and unfolds like an ancient ritual, while 'Chicat' brings some sensuality to the party with whispered, intimate vocals over more macho and unrelenting drums. Bonus tracks 'Codebreaker' and 'Spliffmatch' round out this high-grade EP of timeless techno in style, offering a unique closing treat for digital purchasers.

2025 Repress

It's rare that a certain sound is entirely an artist's own. Although undeniably a stew of impeccable influences - from blues to folk to Latin to dusty funk, soul and hip-hop - one cannot hear a Tommy Guerrero song without immediately recognising it as his - and his only.The cult skater from San Francisco is globally renowned as one of the original members of the legendary "Bones Brigade" team. And as an accomplished multi-instrumentalist, his laid-back soul is beloved by all who've basked in its blissful glow.There's something elemental about this music that really stirs the soul. Strikingly beautiful and instantly addictive, it's a kind of funk-fuelled, melody-driven, groove-based magic. There's a serenity and heart in the playing that radiates warmth and splendour, as if crafted for endless sunsets. His albums that surfaced on Mo Wax at the turn of the century have been treasured since their release and it's two of his most vital LPs that we're honoured to reintroduce.The originals were quietly pressed on to a single piece of vinyl so we've worked closely with Tommy this year to bring you these fresh, limited editions. They have been lovingly remastered, cut nice and loud on to heavyweight double vinyl and presented in deluxe gatefold jackets.A Little Bit Of Somethin' is a quietly majestic gem. Brimming with Guerrero's horizontal "loose grooves", these brief but innovative instrumentals demonstrate a rich variety and, as such, comprise an LP that is aptly titled. An enchanting start-to-finish listen, it was instantly regarded as essential upon release via Mo Wax in 2000. It has aged remarkably well.Throughout this inspired collection, simplicity is key. In deploying it, Guerrero presents a beautifully crafted melodic soundscape. The distinctive, mellifluous approach of his guitar style, blending Brazilian, Cuban, Mexican, soul and jazz motifs, is at once startlingly new and tantalisingly familiar. Set against unrushed percussion, the music releases a crystal clear stream of healing frequencies to create a fragile, hypnotic atmosphere.Each track clocks in at around three minutes and, with a lack of studio polish or commitment to traditional song structure, it's a wonder how this enigmatic record demands your attention. However, through its gentle dynamism and impressive playing, it does just that. Whilst resolutely low-key, this lo-fi aesthetic feels genuinely organic and remarkably personal, its powerful intimacy truly connects. It's what makes this album so beloved of those lucky enough to be already familiar with it. From Margaret Kilgallen's truly iconic cover artwork to the music contained within, it's all brilliantly effortless.Guerrero's musical ideas are consistently compelling throughout, making it impossible to select highlights. The album's laconic drift touches upon jazz-fusion workouts and slow-mo hip-hop drums, Tortoise-style experimental post-rock and cinematic sound textures. It's at once hazy, light and bouncy yet sombre and bluesy. The Latin soul of El Chicano blends with the breezy jazz of Grant Green. By employing guitars and drum machines to create a stripped down rhythmic tapestry of spellbinding, addictive songs, there are even traces of The Durutti Column. A little bit of country, a little bit of rock & roll. A Little Bit Of Somethin', indeed.

Hardcore Rap music is still here! Mike Redman is considered a cult legend known for his unorthodox music production in various genres. He's well known as an artist in the Jungle and Hardcore scene, as a renowned movie score composer and made a name for himself as organiser of the infamous 'Redrum Hip-Hop' events since the 90's which hosted international artists from Guru to Cannibal Ox, Public Enemy, Beatnuts and many more. He also set up Redrum Recordz, a pioneering independent record label focusing merely on anything musically unpolished. Even though Mike Redman (which is his name of birth by the way) was often linked to many Hip-Hop success stories and produced records for artists such as Public Enemy and Big Daddy Kane, Mike has just recently, after many years, decided to produce a solo record featuring the Rap artists he admires and form the foundation of his legacy. With great respect towards his mentors, in a non-profit manner, Mike now releases 'Redrum Relics' featuring Rap icons such as Kool Keith, Chuck D, Schoolly D, Sticky Fingaz, Young Zee, Chino XL, O.C. and many more. This album is truly exceptional and is not made with the intention to be commercially successful, but is a love-letter to a period in time where passion was the motivation. 'Redrum Relics' brings Rap music back to the golden era with a contemporary touch and keeps it unpolished and unyielding as ever. People that tend to say that Hip-Hop is dead might want to reconsider.

Gary Beck returns to Mutual Rytm as he unveils a selection of impactful cuts across his debut 12'' on the label, 'Upside Criminal'.

Bek Audio boss and Glasgow techno mainstay Gary Beck has long been a key figure in the scene with a unique sound that has shaped a vast discography. One of the genre's best, with appearances across iconic institutions and collaborations with legendary talents, he is a definitive talent. Returning to SHDW's Mutual Rytm imprint, his new EP lands following his recent appearance on the label's 'Federation Of Rytm III' VA, with the tracks on the package proving as go-to favourites for the label boss over recent months.

''Mutual Rytm has been nothing short of inspirational to me over the last years. I've been playing almost
everything from the label, as the tracks really suited what I was selecting in my DJ sets. The high-quality output really got my juices going to create something for the label, and I was delighted when Marco liked what I sent. This EP signals exactly where I am musically. I'm an absolute sucker for tracks with relentless groovy energy and little breaks, so it felt like a perfect fit. Tracks from the EP have been an absolute joy to play in my sets recently,
and I'm so excited to deliver this EP on my current favourite label, Mutual Rytm.'' - Gary Beck.

The powerful 'Upside Criminal' kicks off with hammering drums and pounding hits that create an inescapable wall of sound that will dominate dance floors of any size. There is more loopy energy to 'Sambana' with its ever more jagged synth stabs and fizzing drum textures while 'Pepper Track' is a futuristic techno workout with rattling snares and mutant synth details peeling off the straight-up groove. 'Rejected' is built around trapped vocal fragments that swirl about the mix to a disorientating effect as the high-speed drums and sheet metal synths race onwards, 'while
Ghost' closes out with a subtle sense of uplifting celebration from the synths that rise up through rusty, rickety techno grooves. Digital Bonus 'Variation 6.1' offers another searing and funky techno stomp, once again providing an extra gem for digital purchasers.

German/Canadian outfit ANiML is a collection of artists with long histories in electronic music. They founded the Stratasonic label as a way of working with friends, peers and legends without any genre restrictions. Following the ‘Star Walk’ album, which was a comprehensive deep dive into their sound with improvisation and off-the-cuff collisions of a wide array of moods and grooves, it now gets remixed by three underground mainstays.

Detroit's Seth Troxler is one of the most iconic characters in the scene. His left-of-centre sets and sounds have taken him to the world's most notorious clubs, festivals and labels over the last 20 years. His take on 'Breather' is a richly layered minimal groove with suspensory pads rising up through a cosmic sky. There is a mystic quality to the pads and tripped-out atmosphere that will hypnotise dance.

Next is the legendary Mathew Jonson, a notorious synth magician and live show maestro with a jazz schooling and countless seminal tracks to his name. His understanding of dance floor dynamics and meaningful melody runs deep and shines through his remix of 'Baby D.' It's a wonky, off-balance rhythm with shimmering melodies and soulful vocal snippets. Fractured percussive sounds, muffled horns and golden keys marble the mix, which is psychedelic and wonderfully woozy.

Brooklyn-based Galcher Lustwerk has been at the forefront for more than a decade with a signature blend of experimental house and stream-of-consciousness rap informed by funk, rhythm, and blues. His compelling take on 'Bruv' is powered by a bubbly, acidic low-end with shadowy vocal whispers bleeding in and out of the raw, ice-cold beats.

HUGE CONGRATULATIONS TO MOXIE AND THE LOVE INTERNATIONAL X TEST PRESSING TEAM FOR WINNING THE BEST COMPILATION IN THE DJ MAG BEST OF BRITISH AWARDS 2025


“I feel really chuffed as a lot of work went into building this compilation,” beams Moxie, when we congratulate her on the award. “I also worked alongside a great team, including Dave Harvey, Ellie Stokes, Chez de Milo and everyone at Prime Distribution. I’d been manifesting working on a project like this for years, so when it all came together I was so happy with it. But to have recognition from the DJ Mag public vote is the cherry on the cake.”


Few artists have shaped their local scene quite like Alice Moxom under her celebrated Moxie alias. A born-and-bred Londoner, Moxie is a dance music powerhouse whose influence runs deep—from the grassroots to global stages. Her trajectory spans early teenage years digging for garage records, to dubstep sets at legendary club nights, to running her long-standing and beloved NTS Radio residency. For over a decade, she’s been a midweek staple on NTS, championing deep house, Detroit techno, and all things dubby, groovy, and percussive, while regularly platforming artists through guest mixes and interviews with icons like Jeff Mills, Four Tet, and Or:la.

Her latest endeavor, the Love International compilation, brings that wealth of experience to life. 'I’d secretly been manifesting this for a while,' Moxie admits. 'Love International has such a specific energy, and I wanted the compilation to reflect that—dubby, fun, euphoric, deep. It’s all the styles of music I love, pulled together in harmony. Being at Love International always feels like coming home. Whether it’s dancing in Barbarellas or sharing a smile with a stranger on the dancefloor, there’s this sense of unity that’s hard to describe. That’s why I chose ‘U Skladu’ for the sleeve—because that’s what it feels like: in harmony.'

Imagine having a song go viral for 17 years - without even knowing it. That's exactly what happened to the German 1980s band FEX. And this isn't just any song - it's The Most Mysterious Song on the Internet, a track that puzzled music detectives for decades before finally being identified in November 2024. Now, it has been officially released - twice.

The Story in Brief:
Sometime around 1984, a song was broadcasted on NDR Radio. The name of the song was Subways Of Your Mind - only found out 40 years later in November 2024. Back then, a listener recorded the NDR show on cassette, a common practice at the time. Decades later, the tape resurfaced, but while most songs from the recording were identified, one remained an enigma. On March 18, 2007, the track was uploaded to the internet in an attempt to uncover its origins. Due to its now-iconic opening lyric, it was tentatively titled Like The Wind. Over time, the mystery deepened, and the song was given a nickname: The Most Mysterious Song - or simply TMMS.

Starting in 2019, a dedicated Reddit group, TheMysteriousSong, now boasting over 63,000 members, took up the search. They meticulously documented every lead, hoping to solve the riddle of the song's origins. Then, in 2024, the breakthrough: Reddit user marjin1412 reached out to musician Michael Hädrich after discovering a reference to his band FEX in an old newspaper article. Hädrich, FEX's keyboardist, provided a recording from an old demo cassette which included an alternative version of the song. On November 4, 2024, the mystery was officially solved: FEX was the band, Subways Of Your Mind was the title.

What Happened Next:
Since then, FEX has released two singles - both featuring Subways Of Your Mind - through the Berlin-based independent label The Outer Edge. First, the demo cassette version was pressed onto vinyl, as the original NDR radio recording remained lost (see EDGE-028). The Remastered Demo Mix single instantly topped Bandcamp's global charts, holding the #1 spot for several days. By then, it was clear: this was more than just an internet curiosity. A real fanbase had formed. Enthusiastic comments on the sales page ranged from "best post-punk song to ever exist" to "FEX themselves (are) perhaps the most underrated musicians of all time."

But the story didn't end there. A higher-quality version of the NDR radio recording was rediscovered in late december, remastered, and now sent for a second vinyl pressing: the TMMS Version. This new vinyl 7" is backed with Talking Hands another great and unissued song that was found on the demo cassette.

Fame Comes with a Price
Suddenly, time isn't standing still for FEX. The band had to come to terms with the fact that they had become Lostwave super stars. A FEX fan club quickly formed on Reddit, fan-hosted FEX parties are popping up, and the internet is demanding more - an album, merchandise, live performances. But how does a band prepare for a comeback after a 40-year hiatus?

For now, FEX is carefully considering their next steps. Their demo cassette contains six songs - and a few other recordings have resurfaced which probably could be restored and compiled. But foremost, a brand new re-recording of Subways Of Your Mind is in progress.

One thing is certain: The Most Mysterious Song will continue its unstoppable journey around the world. Don't miss this (second) chance to own a piece of music history!

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Nautilus are back again, back to the future, with their teaser for the upcoming studio album in 2026! The first single for the theme-based release deals with a true anime icon and a legendary soundtrack, which Nautilus imaginatively and skillfully reinterprets in their typical groove sound. In the feature, Japanese singer and sanshin virtuoso Anna Sato beams the song into a next dimension with her singing.

The single is rounded off by a master of club remixes, DJ and producer Delfonic from Berlin, a highly respected artist by Gilles Peterson, who gives the piece a magical touch for every deep dance floor with heavy beats.

Be quick on this unique release.

"Space is infinitely large and anything is possible in this universe."
Captain Future

With Schokolino Choco Loco, Icelandic duo Stilluppsteypa brings a warped dispatch from the outside fringes of experimental sound--part valium-drenched dreamscape, part dadaistic radio hallucination. Like a nocturnal transmission from a parallel universe, the record drifts and mutates through layers of joyous abstraction, laced with a deadpan sense of humour, while at the same time it is strangely sensitive. This LP is less a collection of tracks than a slow-motion joyride through Stilluppsteypa's singular sonic universe--so hypnotic and absurd, it ends up warming your heart.

Francis Bebey was a visionary who explored the intersection of African traditions and global music long before it became a global trend. Born in Cameroon, Bebey's sound was an eclectic blend of his rich cultural heritage and his deep exploration of modern music, spanning genres from traditional folk and jazz to funk and electronic experimentation. As an artist, Bebey was ahead of his time, using his unique voice and instruments to forge new paths for African music to be heard worldwide. His legacy is not just in the music he created but in the way he opened doors for the global recognition of African artists, influencing generations of musicians, producers, and fans alike.

This release marks an exciting moment, as we introduce remixes of bebeys iconic productions by contemporary electronic producers, giving new life through creative re imaginings.

Tracks:

Le Grand Soleil De Dieu (Psychemagik Remix): The UK-based musical duo are known for their eclectic blend of electronic music, psychedelic rock and mystical global sounds. Formed by Danny McLewin and Tommy McLewin, the duo has carved out a unique niche within the global music scene though their intricate arrangements. Their Remixes and Collaborations have been with artists like Fleetwood Mac, Tame Impala, and Hercules & Love Affair. Their psychedelic dub remix has otherworldly qualities, with dreamy atmospheres and bouncing baselines throughout this brilliant opening track.

Guinee (Turbotito Edit): The Berlin-based DJ and producer known for his infectious blend of house, disco, and funk. With a knack for smooth, groovy beats and a deep love for melody, Turbotito's music brings a fresh, energetic vibe to the dance floor. On this track, he effortlessly re-imagines and elevates the world of Guinee to match his signature sound. A combination of a great pulsing base line, ethereal vocals and bird sound effects incorporated into the percussion makes this track an absolute stand out.

Agatha (Voilaaa Remix): Bruno "Patchworks" Hovart from Lyon is the brains behind the Voilaaa project. Fusing soulful grooves, funk, and disco with an unmistakable French touch, Voilaaa creates infectious, feel-good rhythms that blend classic and contemporary influences. In this track we find the first big hook of the album vocally, coupled with Bebey's lively humour in spoken French on top of joyous instrumentation. The smooth vocals, catchy melodies, and vibrant arrangements, bring a fresh energy to the original hit track - a brilliant homage.

Forest Nativity (Red Axes Edit): Red Axes are a dynamic electronic music duo from Tel Aviv, blending disco, house, and psychedelic influences into infectious, genre-defying tracks. Known for their unique sound, warm analog textures, and hypnotic rhythms, Niv Arzi and Dori Simao craft music that moves both the body and the mind. Forest Nativity arrives as a full circle closer, incorporating some of the most authentic African instruments such as a Balafon, an instrument similar to a xylophone and a Djembe, a hand drum central to many West African traditions. The 7 minute track is guaranteed to take you on a fascinating journey through Bebey's culture and livelihood.

I turned the page and will never forget what I then saw.

The fountain pen scratched against the paper, whistling like fur on an abandoned tire in the
middle of the night at the centre of the universe in the core of whatever it is I’m trying to believe.
I am a patient human and I live and breathe. I know this for sure.

I read about a whispering stillness of the Stadsnacht as my blood levels gradually even out again. Beneath the ink, the words take shape. This is a secret correspondence with the Book of Change – a dialogue not meant for eyes or ears, but for the soul. Are you still with me?

The Snake Rope tightens, its Coils Dive into the deep well of patience, where waiting is an art, a
dance with the unseen. The Scientists Say we should measure, predict, contain—but here, in
the shadow of the deepest of nights, the only truth is the Celebration of Ignorance. Love is the
force that binds as it untangles the invisible thread that refuses to sever. The next page quotes the mystical figure Daim: “Never Dissever Us.”

There, in the dawning light, the Dageraad reveals the Icequeen in her frigid throne, the Topiary Man standing guard in his sculpted silence. In this quiet landscape, I wait. I continue to wait, for I have good fortune on my very hands.

If You Won’t, I Will.

Can we exhibit the power to possess conformity? Can we redeem the benefits of crossing the water? Yes. The choice, the act of breaking through the barrier of convenience, is both a burden and a liberation.The words swirl, abstract and concrete, like action and inaction. The Book of Change is a paradox to puzzle over.

The evening cool rests its shoulders on my fluffy neck. I inhale as my pen lifts itself from the
paper once more, shedding ink as though it were tears of joy. I know that I have touched the
edge of something vast, something that moves beyond the grasp of reason into the heart of the
I Ching, the ever-turning wheel of change. This is the correct orientation. This is the vivid
imagery of clouds falling from the heavens and into our laps. This was never meant for your
ears. This was meant for you to feast on as the seasons bestow upon us

SKYLAX RECORDS proudly unveils the fourth and final chapter in its epic, conceptual 4-part saga — SKYLAX BLACK 4 – Vision Quest. This secretive series brings together two pillars of French electronic music, ARNAUD REBOTINI and ACID WASHED, in a bold tribute to the essence of rave, electro, and techno. Following the critically acclaimed Winter Sequences and Musical Component, this last installment pushes even deeper into the roots and futures of the underground. On the A-side, Vision Quest opens the EP with a pulsating journey of progressive electronics — cinematic and sleek, evoking the robotic spirituality of Kraftwerk and the expansive textures of early kosmische music. Next, TOI 700-d channels the golden age of acid house with infectious 303 lines and jacking grooves. Think DJ Pierre, Phuture, and Ron Hardy at their most transcendental — raw, euphoric, and timeless. Flip to the B-side and dive into Black Star Liners — a dub techno masterclass in the lineage of Maurizio, Basic Channel, and Chain Reaction. Deep, minimal, and full of ghostly delay, it’s a meditative immersion in pure sound system hypnosis. Closing the EP, Trojan Asteroids fires into classic Metroplex territory — icy, futuristic, and funk-laced. A perfect nod to Cybotron and Model 500, this is hi-tech soul with a razor’s edge. Once again, SKYLAX RECORDS delivers a visionary release — timeless, intelligent, and essential. The final piece of the puzzle is here. The journey ends… or just begins.

SKYLAX RECORDS proudly unveils the final chapter in its monumental 4-part saga — SKYLAX BLACK 4: Enlightenment Theory. This visionary series, bringing together two of France’s most iconic electronic artists — ARNAUD REBOTINI and ACID WASHED — was never just a collection of records. It was a journey through the deepest layers of the underground — a conceptual project where each release was a coded message, each track a fragment of a greater whole. On the A-side, Enlightenment Theory explodes with fierce urgency — an anthem forged in the spirit of Underground Resistance, echoing the soulful intensity of early ’90s Detroit without imitation. It’s bold, emotional, and militantly underground — a future classic cloaked in defiance and elegance. On the B-side: B1. Space Is The Place channels the weightless gravity of dub techno at its purest — all echo chambers and endless delay, a direct line to the Berlin school of Basic Channel, Maurizio, and Deepchord. B2. Beyond Current Biological Constraints closes the chapter in deep space — an electro masterwork evoking Drexciya, full of aquatic melancholy and cybernetic funk. It’s not retro — it’s timeless. With this last installment, the puzzle is complete. The meaning is revealed: R.A.V.E. — four records forming one powerful word. One timeless idea. A tribute to everything this culture stands for: raw energy, emotional truth, sonic innovation, and spiritual depth. This project could only be born on SKYLAX RECORDS — a label that has always stood apart. Uncompromising. Devoted to physical formats. Fiercely loyal to the culture. While others chase trends, SKYLAX continues to chart a different course — one rooted in the sacred codes of house, techno, electro, and beyond. It is no exaggeration to say that SKYLAX is one of the last true purist strongholds of underground music — and this series, with its layered meanings and fearless artistry, is proof. From Redshifts to Blueshifts to Artificial Darwinism then Vision Quest, every chapter has pointed toward this moment. Now, with Enlightenment Theory, the full vision is revealed. RAVE is not just a word — it is the truth. A philosophy. A myth reborn. The circle is complete. The message endures. The legacy lives on.