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Vinyl Only!

The transformation deepens with “Prolonged Resistance”; the second chapter in the Instruments Of Rapture series. The record opens with the hypnotic, slo-mo burner “Just A Memory,” luring you in before the striking hard with the uptempo, cosmic stomp of “Planets (Lost Groove).” The 12” closes out with “Better,” a mid-tempo, smoky soul bumper that lingers long after the fade.

LA-based producer Real Bad Man and Detroit artist ZelooperZ release their joint album Dear Psilocybin via the pro-ducer’s own Real Bad Man Records. The album marks the duo’s first collaboration, culminating in a full-length project that also features guest appearances from Boldy James, MAVI and a verse from The Alchemist. On Dear Psilocybin, ZelooperZ invokes unconventional production out of Real Bad Man to match his own unpredictable and outlandish delivery, working outside of traditional song structures and existing in a lane of his own. The Detroit multihyphenate, who is an integral part of Danny Brown’s Bruiser Brigadecollective and also an accomplished visual artist, painted the album’s corresponding cover artwork as well.

“I definitely haven’t made anything like this before, it’s a very subtle version of my music as far as tone, ” ZelooperZ explained in a conversation with Real Bad Man for his RBM Radio show. He elaborates on the off-kilter approach to the way he recorded to say, “the album feels like a movie soundtrack for a film about a man losing his mind and getting spurts of memories along the way. ”

Speaking about how the project differs from the rest of his collaborative catalog, RBM says, “It’s trippy and it’s a little different – but the main goal was for it to be authentic to Z and his process. ” That dedication to authenticity rings true across his catalog, drawing back to the foundations of his beginnings as a producer, learning the fundamentals of sampling, experimenting with chords and learning to piece songs together by ear. RBM builds a cohesive production arc around each artist he works with, catered to their strengths as artists, working with a variety of lyrical stylists includ-ing Memphis rapper Lukah, Pink Siifu, Blu, Kool Keith, Elcamino & more.

Real Bad Man is the production moniker of visual artist and designer Adam Jay Weissman. A designer and visual artist first, he made his foray into music through his On High Alert series of imaginative, multi-generational compilations, which have featured the likes of Roc Marciano, ROME STREETZ, Pink Siifu, Maxo and more. In the years since, he’s partnered with some of hip-hop’s most talented and adventurous artists on full-length projects, refining and shaping the trajectory of some of rap’s most exciting independent artists.

Back in an unmissable picture disc reissue: THE MOOD MOSAIC
Vol.1 – The Hashish Party, ready to win over collectors and vintage sound lovers. Originally released in 1997 by Yellowstone
Records, this iconic compilation blends jazz-funk, lounge, Latin
jazz, soul-jazz, and psychedelia into a truly unique musical
journey.

The tracklist features legendary artists like Serge Gainsbourg,
Michel Legrand, Gábor Szabó, George Shearing, and Shocking
Blue, delivering an irresistible mix of exotic grooves and retro
atmospheres. The picture disc format enhances the series’ visual
appeal, making every copy a true collector’s item

Lammping, the genre-defying psych-rock project from Toronto, is set to release four unique albums over the next year, each showcasing the eclectic range of influences and talents of its founders, Mikhail Galkin and Jay Anderson. A collaboration with Montreal's Bloodshot Bill kicks off the series with a psychedelic, sample-driven freak-out that’s as unpredictable as it is fun, blending Lammping’s DIY spirit with Bloodshot Bill’s singular style.

“(Cheer-Accident have) earned a reputation for extreme left turns - following collections of complex, metallic art rock with albums stuffed with piano-driven balladry cementing a practice of defying expectations that’s endured for more than three or four decades, depending on when you recognize as the group's actual genesis” - THE WIRE

From Cheer-Accident's liner notes: It’s weird to have so few words to say about our best album to date, but… well…

Our Best Album? Out of 26?

That’s not nothing.

What makes it “our best?” Is it the songs? Is it the production? Is it the convergence of those two elements? What if we added “accessibility?” It is, after all, a pop album. You know, very much in the same way that “The Why Album” and “What Sequel?” are. In fact, we very nearly named it “Now What”, viewing it as the final installment in this pop trilogy.

But that started to feel wrong, because: Why get locked into a “series” every time we happen to lean on the more melodic and concise aspect of what we do?

You know, and the thing is, this isn’t any kind of “return.” This is something new. Though it certainly shares DNA with the aforementioned What/Why releases, it also very much incorporates the rock and dissonance and experimentation present in many of our other forays. Maybe this is simply where we landed. Maybe this is what we are now. Maybe we’ve finally found the combination of ingredients that so perfectly synthesize as our aesthetic that there’s no need to go on from here. Maybe we’ve stopped. Maybe we’re done. Maybe we’ve finally found that sweet spot between the “adventurous” and the “palatable,” and we now intend to rest on our laurels.

What an Admission that would be.

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

Last year, 2024, the inimitable Future Sound of London graced us with 'Pulse Five', a CD instalment and follow-up to the classic Pulse EP series that began over 30 years ago as vinyl EPs. Now, as an extension of that original UK 12” series, six tracks have been hand-picked to create, “The Pulse E.P.-Volume 5” containing what had been previously unreleased DAT tape material from the early 90s. These unheard vintage recordings date back to the era of FSOL's much sought after classic singles and highly acclaimed Accelerator album.

Yellow Vinyl

'70s Disco Music wan’t just Abba or Studio 54. In the same way that punk or glam rock were evolving at the same time, the "disco" phenomenon generated a plethora of obscure and bizarre studio projects which remained unknown for decades, despite often being more inspired and creative than the few ones that reached stardom and sold millions of copies. 45 rpm singles that remained unsold, sitting in junkshops all over the world for decades hide forgotten gems, revealing genius and avant-garde only guilty of not being at the right place at the right time. Whether it's Moroder-oriented proto synth-wave, groovy space-disco or acid afro funk, volume 1 of the Cosmic Discotheque series is all about rediscovering those forgotten treasures while setting your dancefloor on fire!

Following on from the success of the David Bowie 'Loving The Alien' boxed sets, on 15th February 2019  we will be breaking out the three studio albums, 'Let's Dance', 'Tonight' and 'Never Let Me Down' on LP, CD and various digital formats plus the two live albums 'Serious Moonlight (Live '83)' and 'Glass Spider (Live Montreal '87)' on CD and digital formats and 'Dance' which features 12 remixes on standard digital.

Disco Mind founder and Italian mainstay Paul Older and Melbourne's Brother Julian are back with a second volume of the AMBO series after the first one did so well to launch this label last year. Older's 'Keep Dancing' is an electric and peak-time disco cut with string stabs and hard-hitting drums that sweep you off your feet in an instant. It's a real disco inferno then Julia's 'Satisfaction Guaranteed' reworks an old gem into another fast-paced, melody-packed disco stomper. Two very useful disco bombs indeed.

Santana Bridges the Divide Between Live and Studio Material on Moonflower: 1977 Double Album Features Extraordinary Performances, Soulful Vibes, and Dynamic Mix of Latin, Rock, Funk, and Blues
Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Audiophile-Quality Detail, Balance, and Imaging
1/4” / 15 IPS original analogue non-Dolby master to DSD 256 to analogue console to lathe



Though it may seem strange now, Moonflower stood for nearly 15 years as Santana’s first and only live record released in the United States. This despite the fact that roughly half of the double album consists of new studio songs, including a zesty cover of the Zombies classic “She’s Not There” that reached the Top 30 of the singles charts.

However unconventional, the “split” strategy went over like gangbusters. Moonflower reached the Top 10 of the Billboard Top 200 and achieved double-platinum status — feats the group would not again replicate for 22 years. These, and the beautiful quality of the program itself, are among the reasons why the 1977 effort remains viewed by critics and fans alike as must-have Santana.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM 2LP set of Moonflower presents the record in audiophile sound for the first time on a domestic reissue. Part of the MoFi’s Santana catalog restoration series, this collectible version features quiet surfaces and black backgrounds that expose the critical details, liquid tones, and dynamic interplay central to Santana’s music.

The enhanced sonics extend not only to Carlos Santana’s six-string wizardry, but to the rhythmic, melodic, and vocal elements that course throughout both the studio and live cuts on Moonflower. The grip and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the extension and weight of the low-end frequencies; the rich textures of the guitars, percussive devices, and keyboards: all appear amid wide, balanced soundstages and image with right-sized dimensionality.

Significantly rooted in the styles and approaches that inform the group’s first three records, Moonflower captures the final appearances of iconic percussionist Jose “Chepito” Areas and go-to keyboardist Tom Coster on a Santana album. As he did during the preceding five-year stretch, Coster inhabits a large role here, sharing songwriting credits on a majority of the new cuts and helping steer the arrangements toward spiritually minded albeit concise directions that encompass vibrant Latin, rock, and blues themes that began to escape the ensemble shortly after his departure.

Close your eyes and feel the warmth of the sun on the R&B-kissed “I’ll Be Waiting,” anchored by Carlos Santana’s gliding fretwork and Greg Walker’s creamy vocals. Enter the cosmic universe of “Zulu,” on which Coster’s nimble phrasing opens the gate to polyrhythmic beats, knotty grooves, and interlocking funk. Grab the album cover and drift off to paradise amid the equally evocative “Flor d’Luna (Moonflower),” a romantic slow dance that Carlos Santana ensures tiptoes en route to its blissful destination. Channeling a different spirit animal, the guitarist later lets loose on the hard-hitting “El Morocco,” on which he seemingly engages in a shootout with himself and wades into the rippling psychedelia that elevated the band’s early material.

Speaking of the past, Moonflower triumphs on that level as well. In more ways than one, the live selections — and the caliber of the performances — chosen for inclusion represent an abbreviated greatest-hits survey of the band up to that point. And, at the very least, a convincing argument about why Santana had progressed into one of the most formidable bands you could hope to see on a stage in the mid ‘70s.

Simultaneously representative and illustrative of the group’s breadth, tracks stem from the collective’s eponymous debut, Abraxas, and Santana III as well as the then-more recent Amigos and Festival. Whether you fall for the sidewinding spell of a spicy rendition of “Black Magic Woman/Gypsy Queen,” lose your head to the positively epic momentum of “Soul Sacrifice/Head, Hands & Feet,” or keep dropping the needle on the savory grace of the brilliant reading of “Europa (Earth’s Cry Heaven’s Smile),” this pressing of Moonflower puts you — and Santana’s first-chapter legacy — in good hands.

DJ Support - Luke Una, Nikki Nair, Make A Dance, Boris Dlugosch, Gallegos

THIS YEARS BANGER IS HERE! After last years crossover smasher ‘Italo Disco Banger’, which picked up love from DJ Harvey, Gerd Janson and Fatboy Slim, Red Rack’em has been back in the lab, cooking up this years contribution to his ever growing, genre hopping series of ‘Bangers’. He’s hit discotheque paydirt once more with the euphoric tropical disco house burner vibes of ‘Secret Banger’. The feedback has been insane with early support from a wide range of tastemakers including Make A Dance, Nikki Nair, Luke Una, Boris Dlugosch and Gallegos, it’s a crossover, summer magic jam, perfect for those Adriatic or Balearic mornings. Secret Banger is an instant classic. Perfectly pitched for festival sunshine and late night heads down parties. It’s a ‘moment’ track, combining the biggest vocal hook this side of Daft Punk, ecstasy pads, tropical boogie strut and the trademark Rack’em club shaking sub bass. Secret Banger is a sureshot, guaranteed to give eyes closed moments to even the most frosty dancefloors. Monday is ostensibly ‘the deeper B Side cut’ but it’s also a certy club wrecker. Samples are being mad flipped people. A wacked out street soul snippet is sliced and diced before the track mutates into a huge pitched down late night jaw bothering incantation. The OG sample is hard cut into the track like a more clever than most DJ on the decks. You need this.

Petre Inspirescu returns with a four-part suite of mesmeric, long-form compositions. Spanning two 12" records, each track occupies a full side - unfolding with the patience and precision of serialist structures. Drawing from minimalism and contemporary classical traditions, this is introspective electronica in its most refined form - hypnotic, elegant, and quietly expansive.

Levitating Locked In Roots

Sherlock Hound is the animated series from the masterpiece directed by Hayao Miyazaki and coproduced by TMS Entertainment and RAI, wich was broadcasted for the first time in 1984. The series was a success and remains to this day one a beloved classic in the world of Japanese animation.


To celebrate the recent 40th anniversary of the series, we are pleased to offer this sublime edition with its 2 discs gathering the soundtracks from the TV series and for the initial animated film (The Blue Ruby & Underwater Treasure), completed by a 8-page booklet, illustrated with beautiful artworks.


The soundtrack to the animated series was composed by Kentarô Haneda (well known for his work on the Space Adventure Cobra series) and includes the two signature songs performed by Da Capo. The anime film soundtrack is the work of Kunio Muramatsu, and also includes two songs performed by Haruko Kuwana. Immerse yourself in the fascinating atmosphere of this cult 80s anime!

Dame-Music continues to celebrate its 15 Years with the release of Vol. 2
15 Years Of Dame-Music series is an ode to the unmistakable sound of the TB-303, a core element of Bloody Mary's widely respected sound and label.
Continuing the strong momentum from Vol. 1, this release features four standout tracks from some of the most respected and forward-thinking names in electronic music: DEAS, Ben Sims & Ritzi Lee, Viikatory, and the highly anticipated return of Jerome Hill vs Fear-E to the Dame-Music roster.
Spanning three curated volumes, the “15 Years of Dame-Music” series highlights the label’s enduring commitment to underground dance music culture and its dedication to vinyl and analog sound.

Lee Morgan war ein amerikanischer Jazztrompeter und Komponist. Als einer der wichtigsten Hard BopMusiker der 1960er Jahre wurde Morgan bereits in seinen späten Teenagerjahren bekannt. Er nahm mit Bandleadern wie John Coltrane, Curtis Fuller, Dizzy Gillespie, Hank Mobley und Wayne Shorter auf und spielte in Art Blakeys Jazz Messengers. Morgan blieb bis 1961 bei Blakey und begann in den späten 50er Jahren, als Leader Platten aufzunehmen. Seine Komposition „The Sidewinder“, die auf dem gleichnamigen Album enthalten ist, wurde 1964 zu einem überraschenden Crossover-Hit in den Pop- und R&B-Charts. Nach einem zweiten Engagement in Blakeys Band arbeitete Morgan bis zu seinem Tod 1972 sowohl als Leader als auch als Sideman weiter. Ursprünglich 1960 auf dem Vee-Jay-Label veröffentlicht, ist ”Here’s Lee Morgan” Lee Morgans 10. Album. Auf der Sammlung von 6 Hard Bop-Stücken wird Morgan von Clifford Jordan (Tenorsaxophon), Wynton Kelly (Klavier), Paul Chambers (Bass) und Art Blakey (Schlagzeug) unterstützt. Diese Neuauflage des Albums erscheint als Teil der Original Jazz Classics Series auf 180-Gramm-Vinyl, das bei RTI gepresst wurde, mit analogem Mastering von den Originalbändern bei Cohearent Audio und einem Stoughton TipOn Jacket.

New Artwork. Lucrecia Dalt ist eine produktive und grenzenlose Musikerin, Performerin, Komponistin und Klangkünstlerin, die sowohl Genre als auch Form herausfordert, indem sie vertraute Elemente der Pop- und experimentellen Musik auseinander nimmt und sie auf unerwartete Weise neu zusammensetzt. Mit ihrem hochgelobten Album "¡Ay!" aus dem Jahr 2022 gelang ihr der Durchbruch bei einem breiteren Publikum. Dalt hat sich auch als Komponistin für Film und Fernsehen einen Namen gemacht, unter anderem mit ihrer originellen Filmmusik für die HBO-Serie "The Baby" und den in Cannes 2024 ausgezeichneten Spielfilm "On Becoming a Guinea Fowl". Mit ,cosa rara", ihrer neuen Single, die von Kultmusiklegende David Sylvian gemischt, produziert und mit einem seltenen Gastbeitrag versehen wurde, wird das Thema des eigenen Ichs zu einer unwahrscheinlichen Verliebtheit. "cosa rara" ist eine kühne Rückkehr von Dalt, die die Höhen der Liebe destilliert und mit Produktionspräzision und hyperfokussierter Klarheit klanglich umsetzt und den Hörer auf eine aufregende Eskapade aus Sound und Psychologie einlädt. Die B-Seite der 7" enthält Mabe Frattis "cosa rara (en la playa)"-Version, eine geisterhafte, von Fratti produzierte und gesungene Version desselben Songs, sowie eine 7" exklusive, erweiterte Version von Matias Aguayos, "cosa rara (dopamine dub)". Abgemischt von Sylvian und gemastert von Heba Kedry, ist die 7" eine einmalige, auf 500 Exemplare limitierte Pressung. RIYL: PJ Harvey, Broadcast, St. Vincent, ML Buch, Stereolab, Cate LeBon, Aldous Harding, Mabe Fratti, Dry Cleaning, Juana Molina.

Da Taylor Nordberg und Jeramie Kling den Titel der 1992er Massacre-EP "Inhuman Condition" als Namen für ihre neue Band wählten, nachdem sie das Death-Metal-Flaggschiff 2020 verlassen hatten, erscheint es plausibel, dass in den letzten fünf Jahren an diesem bewährten Old-School-Sound festgehalten haben. Das dritte Inhuman-Condition-Album "Mind Trap" ist jedoch mehr als nur Massacre 2.0 und markiert eine Steigerung auf allen Ebenen. Die Tatsache, dass sich das ursprüngliche Trio, das durch den altgedienten Bassisten Terry Butler (zu verschiedenen Zeiten ebenfalls Mitglied von Massacre) vervollständigt wird, bei der Arbeit an neuem Material nie Ziele setzt, hat sich als Segen erwiesen: "Wir haben das Gefühl, dass wir unsere Identität gefunden haben und endlich über die Verbindung zu Massacre hinweg sind", sagt Nordberg. "Beim Schreiben, Aufnehmen, Mischen und so weiter wurde nichts überstürzt. Dieses Album zeichnet sich durch eine gewisse Behaglichkeit aus, hat aber immer noch diese knallharte Kante." Die Songs auf "Mind Trap" sind dem Gitarristen zufolge ein "Kommentar zu der Welt, in der wir leben". "Einige meiner Texte befassen sich mit dem erdrückenden Einfluss der Technologie auf unsere Spezies. Die Platte hat alles - Blut, Eingeweide, Serienmörder, Sci-Fi-Horror, schlechte Menschen." Die Band produzierte das Album vollständig in ihrem eigenen Studio, und das Ergebnis kann sich mehr als hören lassen. "Mind Trap" kommt mit einem weiteren bestechenden Artwork von Dan Goldsworthy (Accept, Alestorm) und zeugt von der besonderen Chemie des produktiven Duos hinter Inhuman Condition.

"Receive” is the fully improvised fourth album from I Am An Instrument. It follows up on a series of 3 elegant and melodic recordings by a finely tuned and talented group of musicians at the height of their powers.

For I Am An Instrument ( IAAI) the focus is always on the music and this fourth album is no exception. This session was performed and recorded live to an enchanted and attentive crowd at “All-Dayer” Copenhagen, taking place halfway through a free 12 hour Sunday session of dancing and listening in an audiophile environment.

While picking up on tempo, compared to previous recordings, this record also reveals the polyrhythmic dance dynamic central to the improvised style these fresh players have developed amongst themselves. ‘ Receive’ is an elegant and powerful celebration of music and melody evolving in the seconds as they pass.

12" RED Color Vinyl / With Black Solid Jacket and Large Sticker
The Unofficial Edits & Overdubs by Joaquin Joe Claussell
Finally comes the first of a two-part forthcoming EP's, Extended Versions taken from the highly successful Joe Claussell Afro Edits & Overdubs Series previously released on LP and CD.
Influence of hallucinations induced by chewing roots from the iboga plant on the works of Joaquin Joe Claussell's Edits & Overdubs IBOGA Compilation. The iboga plant is indigenous to the humid, tropical climates of West Central Africa, including Gabon, Cameroon, Congo, and Angola, which are home to the 2nd largest rainforest in the world. It has been used for centuries in spiritual initiation ceremonies and practices, particularly by the Bwiti tradition and religion in Gabon.

Joaquin Joe Claussell was inspired by these influences and went into the studio to create a compilation of edits and overdubs of African vibrational sounds and rhythms. The result is a collection of nine compositions that showcase the future possibilities of this influential work.

Tested for months on dance floors across the globe every on this complication are sure to continue setting dance floors on fire where ever spun.
Extended Versions Cuts Taken Limited Vinyl EP featuring selected cuts from the compilation. Listen loudly and enjoy the experience!
Thank You for Listening

"Chasing the funky symphonies that filled my head and my dreams..."

December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.

"I'd release that", Rob commented.

Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.

You will not believe the profound soulful genius contained within these naive schoolboy melodies.

December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.

In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."

Hell, he can do that now!

Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.

The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.

Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a REDACTED record which he had gotten from Happy's Flea Market and paired it with a REDACTED drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."

"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some REDACTED drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.

"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."

Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.

This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."

The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this 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.

Suburban Architecture continue their series of sought after 4 track EP releases with their 7th offering, 'Vivid'. This latest release once again draws heavily on influences from the jazzier, atmospheric strains of mid to late 90s Drum & Bass. Putting a contemporary spin on sounds rooted in this golden era of dance music, this new 4 track collection spans sounds from jazzy atmospherics to slightly harder edged sonics.

Opening track 'Vivid' sets the mood with atmosphere by the pound. Deep, melancholy keys drowned in reverb underpin cycling chimes and haunting vocal samples before giving way to a tearing drum track. 'Waiting' meanwhile is all about layers and texture. Lush textured vocals marry with atmospheric pads, shimmering arps and flutes before releasing into punchy, intricately programmed drums.

Over on the flip 'After All' is led by a powerful vocal refrain which carries lush pad work into crashing breakbeats and a bassline that delivers matching energy. 'Rising' closes out the release with a jazzy roller that continually shifts gears, from horn-laden atmospherics and complex drum arrangements to rowsing vocals and strings.

Limited Vinyl Box Set including 6x olive 12” vinyl & download code

Cocoon Recordings presents: Cocoon Compilation V

Back for the summer season, Cocoon Recordings proudly unveils the next chapter in its iconic compilation series. With its 22nd edition, Cocoon Compilation V once again bridges past and future, showcasing the essence of electronic music’s constant evolution. True to the spirit of the label, this handpicked collection delivers a diverse, emotional, and forward-thinking selection that drifts through shimmering currents, pulsating machinery, and moments of pure release.

Delenz & Zeitstill set the tone with “Place To Be”, a smooth and warm opener that invites the listener into a meditative microcosm. What starts as dreamy minimalism steadily unfolds into deep, shimmering depth. A sublime invitation to get lost in sound. Superpitcher takes us further into the mist with “Dream B”, an ethereal and cinematic dreamscape that floats between melancholy and magic. Its stretched textures and hypnotic pacing form a gentle passage into inner space.

The energy intensifies with Patrice Bäumel’s “Nat”, a sophisticated tension-builder with a subtle pulse and haunting atmospheres. Sound waves that breathe, evolve, and subtly command movement. Sawlin switches gears with “Der Jasager”, a deep technoid beast that hits with low-end pressure, modulated percussions, and gritty textures and spooky features. Raw, physical, and unrelenting.

A bright contrast comes from DC Salas and his track “Escapism.” Psychedelic, synth-heavy, and effortlessly groovy, it channels the playful side of electronic storytelling. It channels a trancy 90s flair with its vibrant energy, brilliant use of choir bits, and irresistible vibe that transports you back to a golden era. With Tal Fussman’s “Eyes”, we’re taken into euphoric territory. This stomper is a conversation between piano and strings, rising above crisp grooves, weaving emotion and momentum with finesse.

On the second half of the journey, legendary Ken Ishii teams up with Yuada to deliver “Split Second,” a bold, wild and crazy techno excursion full of mechanical grace and Japanese precision. An ode to organized chaos. Marcel Fengler’s “Aura” follows, powerful and deep, pushing air like an engine through tunnels of tension and light. The blend of rhythm and sentiments is a masterclass in functional elegance and states of mind.

Impérieux brings us “Kala,” a track both twisted and beautiful. Its detuned hypnotic melodies and skewed harmonics are unsettling in the best way while the unconventional rhythms cloak the entire track in a mysterious aura. It creaks and twists toward transcendence, underscored by primordial flute sounds. A fractured lullaby for the club. Joe Metzenmacher injects wildness and attitude into the mix with “Da Freak.” Fuzzy, distorted synths collide with a funky bassline, sharp guitar stabs, and mad bleep effects, bringing the raw groove and dancefloor chaos of a bygone funk era into a futuristic setting.

Joseph Capriati debuts on Cocoon with “Cosmopop” and surprises with an unexpected stylistic shift. Capriati explores a more melodic, emotionally driven sound. Subtle harmonies meet a warm, rolling groove. It’s a bold and personal statement, showing a new side of an artist who continues to evolve beyond expectations. To close, Matthias Schildger offers “Distorter,” a raw and emotional cut that leaves room to breathe while keeping the mind spinning. It begins with beautiful pads, before distorted kicks drop in, yet the track retains a certain tenderness, like the feeling of sitting at a tranquil, untouched nature spot, surrounded by the beauty of the world. A grand finale to a compilation that refuses to settle.

From sunrise moments to peak-time madness, Cocoon Compilation V captures the full spectrum of what dance music can be. Transcendent, visceral and endlessly evolving. This isn’t just a collection of tracks. It’s a curated experience for the body, the mind and the soul.

The sixth studio album by the British rock group, originally released in 1971. Produced between touring commitments and widely regarded as a notable progression from their previous work, the band devised a series of novel recording and writing experiments, which also inspired the album's signature track “Echoes”.

For three seasons, Jung’s (of Parasite and Mickey 17 fame) iconic music has been essential in creating the intense atmosphere and emotional impact of the series. For this vinyl release, Jung Jaeil has exclusively compiled the best moments from three seasons of Squid Game.

On this double LP, you’ll hear Jung’s mastery of blending classical, electronic and minimalist elements to create a soundscape that reflects the psychological tension and moral complexity
of the show. From eerie piano motifs to unsettling
ambient textures, the soundtrack heightens the suspense and emotional gravity of the survival drama. Squid Game’s soundtrack not only complements the show’s gripping visuals, but also stands
as a masterclass in modern TV scoring. Jung Jaeil’s work has received widespread acclaim, cementing his reputation as one of the most visionary contemporary composers.

3rd limited edition vinyl EP in the series of EPs celebrating the 20th anniversary of the group Chinese Man and Chinese Man Records. For this 3rd opus, we take a look back at the various collaborations between Chinese Man and O.B.F over the years. Two versions of Salune included, plus two O.B.F.-Remixes of CM tracks. 20 years logo by Joan Oaï of Life. Available on limited transparent purple vinyl.

An Announcement Of A Miracle
This tune is about a specific idea..
not using a 303 to make a timeless piece of Chicago Seriousness.

The Jak & Nico Babylon lays out the foundation of vintage electronics righteously snapping Kode with an intense amount of energy and balance paying respect to the underground tribes.
The sermon included throughout the song is about the truthful miracle in the lives of OUR humanity everyday.
listen, absorb and realize!

Roman Romance 4 The Drum Kidz
This is a honorable homage to Fred Brown from Rocking House Records (Chicago)..

The Jak & Nico go head to head with this dark and melancholic slab of pure chicago created by hand…
Showin Ultra Respect.

I’d clocked this kid coming in to the shop over the last 6 months, quiet, serious, head down, digging through ALL the records, intently listening and then buying and scurrying off… Not the most chatty BUT he did let slip he was making music, and then it made sense, he was in the shop for one reason and one reason only… to find music he could use to make his own music. The kid is 17 this is the start of his musical journey. I suppose its been a Bristol thing for a long time, maybe its the same in other cities but here there’s been people taking other people’s music and bending it to their own will for a long time, making it their’s but also somehow making it OURS, it always seems to sound like its from here… So when ZEE asked if he could play me some music he’d made it wasn’t a surprise that it sounded like it came from here, the darkness, the clever twists and turns, soulful but heavy… I said it sounded like ’Shoegaze Hip-Hop’ which he seemed to like… So here’s three tracks that I hope you dig them as much as I do…. Tom Friend (Friendly Records).

Dark, brooding hip-hop instrumentals that joins the dots between Company Flow, The Bug and Dilla. A killer vibe from tipped new West Country producer, ZEE! Limited gold vinyl copies available in an edition of 100 — don't miss!

“Ti Ho Sposato Per Allegria” (1967) is a comedy directed by Luciano Salce, taken from the theatrical play of the same name (1965) by Natalia Ginzburg. The main characters are Pietro and Giuliana, respectively interpreted by Giorgio Albertazzi and Monica Vitti. A lawyer from a good family, serious, accustomed to a calm and regular life who got married to a indolent and dazed girl with a difficult past a month after meeting her at a party. Despite Giuliana's inability to transform herself into a good housewife, his relationship with Pietro continues to flourish, because he seems to find enjoyment in each of his wife's many mistakes. The reason for their union lies not in love but, perhaps, in a genuine sympathy, as strong as it is mutual. The story has become a minor classic with each new representation. On both stage and screen the themes of everyday life, and the more complex and existential ones, are addressed. The subtle irony of the work relies on recounting problematic events in a carefree tone: realities such as abortion, death, separation and the couple's incommunicability are underplayed with naturalness. The funny events of the film are commented on by Piero Piccioni's music, published for the first time on vinyl by Musica Per Immagini, with an harmonious tracklist. For this first orchestra rehearsal with the director, which will be followed by other important soundtracks, the composer makes an effective and elegant synthesis: on the one hand he reworks moods and aesthetic intuitions of some previous and happy experiences, while on the other he identifies and anticipates the first bars of that unmistakable sound between bossa nova, funk and lounge nuances that will characterize almost all the production of the Seventies. In fact, the Turin-native artist simplifies in a positive sense the articulated harmonic structures that have always distinguished his authorial figure – where the so called jazz features are to be considered more than central in the musical texture, as prominent elements of the harmonic syntax – and he tries a melodic reduction that will make the compositions more catchy or memorized, but not easier for this. Lightness of spirit and rarefied elegance are the keys of this new Dionysian world.

Limited reprint of the sold-out Volume 3 from the Underground Wave series, featuring Belgian and Dutch wave, synth, and minimal artists. Most tracks were previously only on cassette. Walhalla Records is dedicated to reviving the 80s/90s cassette scene by releasing rare material, often for the first time

Michi Sarmiento takes center stage on this explosive double-sider from PANORAMA Records, the third release in their 'DISCOS PANORAMA' series, created in collaboration with the legendary Discos Fuentes from Colombia. On the A side, 'Mirame San Miguel' by Michi Sarmiento Y Sus Bravos (1972) brings that irresistible Colombian groove, full of energy and horn-driven soul. Flip it over for 'Cumbia Raja' by Michi Sarmiento Y Su Combo Bravo (1970), a classic cumbia weapon that’s been igniting dancefloors for decades. The Combo Bravo, led by Blas 'Michi' Sarmiento, was a pioneering force in the rise of salsa and tropical sounds in Colombia during the late '60s and early '70s. This reissue delivers absolute Colombian dancefloor HEAT—killer Latin music, built for DJs, collectors, and anyone who loves it loud.

Snorkel Records proudly presents the third release in its 12'' single series: Samme Gamle Ulla by Olefonken. 'Ulla' is the Norwegian word for wool, and this record is woven from studio dust and soft synths. Wrap yourself in it before it unravels!

A. Noelita - Sambalanca
Quirky, upbeat samba, originally released in 1973 on Copacabana. Organ and horn lines bubble under the drum groove and percussion.

Taken from her only LP 'Quando Me Sinto Só' released in 1975. Sought after and expensive in it's original form.

AA. Doris Monteiro - E Isso Ai
The instantly recognisable, original version of the classic and much covered 'E Isso Ai'. Beautiful laid back samba/MPB, drenched in horns and percussion.
Taken from her 1971 Odeon LP.
This is the second time the hugely prolific Doris Monteiro has featured in our Brazil 45's series; previously with 'Se Vocé Quiser Mas Sem Bronquear' on number 9.

"Cuban Soul-18 Kilates" is Cassiano's third studio album, released in 1976, and stands as a milestone in Brazilian soul music. It combines Brazilian rhythms with classic American soul elements, creating a unique fusion. Cassiano's smooth, soulful vocal style and the album’s larger-than-life arrangements, reminiscent of Tim Maia's sound, give it a rich, deep feel.

The standout track, ‘Onda,’ is a relaxing anthem evoking beach vibes that has become a DJ’s favorite in recent years and also made it into several compilations. "Cuban Soul-18 Kilates" has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Remastered from the original tapes and pressed on 180g vinyl. This release is part of a new reissue series that will include many other outstanding Brazilian classics like Evinha “Cartão Postal” or Gerson King Combo.

"Cuban Soul-18 Kilates" is Cassiano's third studio album, released in 1976, and stands as a milestone in Brazilian soul music. Influenced by artists like Otis Redding, Eddie Kendricks, Stevie Wonder, and others, it combines Brazilian rhythms with classic American soul elements, creating a unique fusion. The album features 9 tracks, with ‘A Lua e Eu’ becoming a major commercial hit and the theme song for the soap opera “O Grito”. Cassiano's smooth, soulful vocal style and the album’s larger-than-life arrangements, reminiscent of Tim Maia's sound, give it a rich, deep feel. The standout track, ‘Onda,’ is a relaxing anthem evoking beach vibes, with its captivating bassline, subtle percussion, and natural sounds of the sea, making it perfect for moments of relaxation. This song, along with the album’s other tracks, showcases Cassiano's mastery of Brazilian soul, making “Cuban Soul-18 Kilates” a definitive and cherished record in the genre. This album has earned cult status over the years, securing its place as one of the most coveted Brazilian records of all time. Once incredibly rare and expensive, it's now at the top of every serious collector's wishlist. After not being available outside of Brazil for years, it’s finally been reissued – don’t miss your chance to own this legendary piece of music history.

Demon Music Group are delighted to confirm the signing of ‘Night Mirror’ – the fourth solo album from electronic music legend, Claudia Brücken. • Written and recorded in London between 2023-2025 with longtime collaborator John Williams, ‘Night Mirror’ is a stunning collection of 10 brand new songs, suffused with optimism, loosely bound by themes of reflection and rebirth. •

Having first come to notice as the lead singer of Düsseldorf electronic music pioneers Propaganda, one of the first signings to the celebrated ZTT Records (Frankie Goes To Hollywood, Art Of Noise, 808 State), Claudia’s striking image and distinctive vocals made her one the most influential and inspiring female musicians of her generation. Propaganda enjoyed chart success with hit singles like ‘Dr Mabuse’ and ‘Duel’ and their 1985 album ‘A Secret Wish’ is frequently cited as one of the landmark electronic pop albums of all time. • In subsequent years, along with collaborations with the likes of Wolfgang Flür (Kraftwerk), Martin Gore (Depeche Mode), ACT, Andrew Poppy, Andy Bell (Erasure), and Peter Hook (New Order). Claudia was most recently in the limelight fronting the reimagined xPropaganda whose 2022 album ‘The Heart Is Strange’ garnered ecstatic reviews and reached No. 11 in the UK album chart. •

On ‘Night Mirror’ Claudia is reunited with musical partner John Williams, whose work as a producer, writer, engineer, and record label head has seen him work with such luminaries as The Housemartins, Alison Moyet, Blancmange, Simple Minds and The Proclaimers. Contributing to the album are an accomplished series of musicians, whose credits include The Lighthouse Family, Cathy Dennis, Orlando Weeks (The Maccabees), and Kaiser Chiefs. • This LP release is presented on Dark Cherry vinyl. • This is a priority release for Demon, and we will be supporting with full retail, press, radio and online campaigns.

The collaboration between influential DJ/producer Eli Escobar and acclaimed vocalist/songwriter Nomi Ruiz has been a long time in the making. The two Puerto Rican New York native’s first collaboration, the electrifying track ‘Desire’ in 2011, set the stage for a series of projects, including their recent joint effort ‘Dance 4 Love ’99’. Now, they are set to release their debut LP, ‘Love Louder’.

‘Love Louder’ captures Eli and Nomi’s experiences of love and loss, reflecting their enduring connection to New York City and its vibrant, yet fading, nightlife culture. The album, while featuring dancefloor gems like ‘Heathens’ and ‘Full Fantasy’, takes an emotional turn, focusing on the themes of loss and presence in a rapidly changing world. The title track opens with lyrics invoking the late Donny Hathaway, reflecting a more profound introspection from the duo. They share their pain over loss, particularly the passing of mutual friend James Dewitt (DJ BluJemz), whose absence profoundly affected their creative process.

Escobar recently opened a club in Brooklyn named Gabriela, honoring a friend who passed away during the pandemic, emphasizing their commitment to preserving New York's cultural landscape. ‘Love Louder’ serves as a love letter to their hometown, intertwining celebration with mourning. In the poignant track ‘Go Be Gone’, Ruiz expresses the difficulty of embracing change and saying goodbye.

As they honor the past, they also aim for a brighter future through their music.

Adeen Records is back with its The Bird series and this time Cad73 is the one at the buttons. First up he flips the age old classic 'Love and Happiness' into a smooth and seductive sound with lush chords and warming melodies. Flop it over and you will find a rework of 'How Can I Forget You' which becomes a Northern Soul great with big hooks and driving rhythms that will get big reactions in the club. Two different but equally effective and cultured cuts.