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This songs were recorded years ago and were sleeping in the computer for some reasons...

After the Dezzi D tune was released last year on an LP on Chouette Records, All Nations puts out this 12" with the song from Afrikan Simba on the same riddim, plus an extra cut from Puppa Djoul, talented multi instrumentist from France.

Acclaimed harpist and songwriter Mikaela Davis’ new album, Graceland Way (due TK via Kill Rock Stars), builds an expansive, kaleidoscopic neo-western dystopia from the cozy origin point—that duality compounded by a subtle exploration of light and dark, grace and struggle, rose and thorn, as well as the mystical power found at their meeting points. The “canyon country” epic born of that work is indebted to the titular street in Chevy Chase Canyon where she recorded the album, the lineage of Laurel Canyon, the mythos of Elvis’s Graceland, and Paul Simon’s restless reinvention. “At the end of the journey, the place you were destined for all along isn’t even a place, it’s a state of mind: Graceland Way,” Davis says. Featuring an unreleased Cass McCombs track (Mizmoon) as well as contributions from Karley Hartzman (Wednesday), Tim Heidecker, Madison Cunningham, Neal Francis, James Felice (The Felice Brothers), Clay Finch (Mapache) & Hannah Read.

DYING VICTIMS PRODUCTIONS is proud to present MEGATON SWORD’s highly anticipated debut album, Blood Hails Steel – Steel Hails Fire, on CD, cassette and vinyl LP formats. It was but November of last year when MEGATON SWORD unleashed their glorious debut EP, Niralet, via DYING VICTIMS. Arriving fully formed, virtually without warning – no prior demo recordings existed, at least not publicly – this Swiss quartet evinced an ages-old sound that was wise (and wizened) well beyond their young years. Already, MEGATON SWORD knew the mystery of steel…and wielded it with a startling confidence. And no one knew just how high they could fly, only that they were just getting started. Now, with the arrival of their imminent debut album, Blood Hails Steel – Steel Hails Fire, MEGATON SWORD are marching into the halls of greatness, with no one to stop them. Retaining the same, well-named lineup – vocalist Uzzy Unchained, guitarist Chris the Axe, bassist Simon the Sorcerer, and drummer Dan Thundersteel – MEGATON SWORD maximize the strengths of the EP and then some, revealing new twists to that mystery of steel whilst retaining the charisma and crunch that endeared them to the true-metal underground the first time around. Indeed, Blood Hails Steel – Steel Hails Fire is aptly titled, almost ridiculously so: this is true-as-steel HEAVY METAL drunk on high fantasy and the enduring themes of conquest and valor, triumph and tragedy, but rendered in a form even bloodier and possessing more bravado. It’s also more dynamic, maximizing drama between notes and from one passage to the next, each movement a narrative crucial to their conquest.

Now into its sixth year, NuNorthern Soul’s Summer Selections series has become a popular annual fixture. Like its predecessors, 2026’s edition showcases a variety of Balearic dancefloor workouts, sensual soundscapes and tracks tailor-made for poolside sun-down sets.

As usual, Summer Selections Six is a vinyl-first affair, offering wax enthusiasts a chance to cop killer cuts set to feature on a swathe of forthcoming NuNorthern soul releases – including some that would otherwise be unavailable on physical formats.

To begin, is It Balearic? label regulars and Rotation Sound System crew members Wrekin’ Havoc turn their attention to NuNorthern Soul favourite B.J Smith’s 2014 cover of Outkast’s ‘Prototype’. Their take, which will be featured on a forthcoming collection of reworks of Smith’s NNS material, places the long-serving producer’s beautiful, beguiling vocals atop lo-fi 80s electro beats, moody pads, squelchy synth sounds and far-sighted electronics.

Up next is label newcomer Sasha Foam, a fast-rising Lisbon-based DJ/producer whose Memoria EP is set to land digitally soon. ‘Curios’, his contribution to Summer Selections Six, is a propulsive and ear-catching affair, with joyful synth melodies, rushing piano riffs and cheerful TB-202 style acid tweaks rising above a crunchy, drum-machine driven mid-tempo groove.

Rounding off side A is ‘Call To Wind’, a rootsy, warming and sun-baked slab of Balearic dub gorgeousness from Strictly Dub Records founder Saimon AKA Roots Artefact. The track, which marks his first new material since last year’s NuNorthern Soul debut Different Perspective, is one of the many highlights set to be featured on the Estonian’s forthcoming Rocking Boat EP.

Turn to the flipside and you’ll find three more inspired, immersive treats. Dan Dub Lounge, Muzka and Simon Sheldon being their Visions of Light project back to NuNorthern Soul with the borderline genius ‘ReBorn Slippy’, an exotic, intoxicating and sitar-laden slow-motion instrumental cover of the Underworld favourite taken from their soon-come collection of ‘mild pitch’ takes of dance and electronic classics.

To complete another stellar Summer Selections 12-inch label founder Phil Cooper platforms two recent additions to the roster. First is Potteries-based producer Andrew Wright AKA Lonely Deckchair. Wright offers up ‘Adaflo’ from his forthcoming debut album. Atmospheric and magical, ‘Adaflo’ is a simmering, slowly unfurling fusion of poignant pianos, minimalist beats, shuffling bass and tumble-down chords.

Then there’s Aussie artist Perth Lewis, whose first two self-released albums (Moments In Time and Distance Between) were recently reissued by NuNorthern Soul. The Sydney-based producer is set to release a new EP, Cherry Moon, soon, and ‘Monolith’ is taken from that collection. Deep, dubby and beguiling, it sees Lewis pepper a head-nodding, effects-laden beat with spacey sonics, cascading piano motifs and some seriously sparkling synths.




d B1: Visions of Light -

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.

Simoncino returns to Skylax Records with Traxxx EP, a raw and hypnotic five-track collection built for the dancefloor. Known for his unmistakable analog approach and deep connection to the legacy of Chicago house and underground European club culture, the Italian producer delivers a set of stripped-down, highly functional DJ tools. Tight drum machine programming, rolling basslines and subtle synth movements drive each track forward with precision and efficiency. No gimmicks, no excess — just pure club energy designed for long mixes and late-night sessions. True to the Skylax philosophy, Traxxx EP focuses on timeless groove architecture rather than trends, offering DJs and collectors a record that will remain effective in the bag for years. Raw, hypnotic and direct, this is underground house music in its most essential form.

Inner City Sound Archives returns with its second chapter — digging deeper into the forgotten vaults of New York’s underground disco culture.

This new volume brings to light another cache of mysterious acetate recordings: no titles, no credits, just cryptic handwriting, tape hiss, and the unmistakable pulse of a bygone era. Painstakingly transferred and fully remastered through analog processes, these raw and extended cuts preserve the full emotional weight of the original sessions — dusty, physical, and made to move bodies in the dark.

These are tracks that once passed hand-to-hand among a tight circle of selectors, whispered about and played just once or twice at legendary loft parties between 1978 and 1983. Then, silence. Until now. Once championed in the shadows by the likes of Larry Levan, Francis Grasso, Steve D’Acquisto, but also by more elusive selectors like Bobby Guttadaro, Michael Cappello, Roy Thode, and Mark Paul Simon — these grooves return to tell their story, the way they were meant to be heard. Each piece is a sonic time capsule — hypnotic, unpolished, and intimate. Pressed loud and with care, for those who still believe in the ritual of vinyl.

Andreu G. Serra and Kiran Leonard first met in Lisbon nine years ago, arriving in the city within weeks of each other by chance. Living together in a crumbling warehouse in Alto São João, they recorded a series of improvisations that became The Piri Piri Samplers (Memorials of Distinction, 2019): Serra’s abrasive, tape-warped guitar lines colliding with Leonard’s stark, pedal-free counterpoint. They played a single gallery show, left Lisbon that summer, and then spent almost a decade living in different countries.

When Stroom reissued The Piri Piri Samplers in 2024, the label suggested the duo make a new record. At first, it seemed impossible: Leonard was in London, Ubaldo in southern Catalonia, and their attempts at long-distance recording quickly collapsed into nothing. But the near-failure sparked something. Leonard travelled to Catalonia to restart the process in person; soon after, Serra moved to South London, and the pair began meeting every week.

The result is Making Friends: a richer, more expansive album built over six months. Where The Piri Piri Samplers was assembled from raw improvisations, Making Friends transforms fragments into fully realised songs, weaving together nylon and steel-string guitars, piano, drums, bells, samplers and more. For the first time, Serra and Leonard sing together, each in his own language - Catalan and English - sometimes translating one another in real time.

Musically, Making Friends still carries the jagged dissonance and free-blues spirit of the duo’s earlier work, while opening outward toward everything from emo and blown-out noise to fractured chamber pop. There are only three guests on the album, and they are worth mentioning: Rachel Leonard and Antonia Serra (the musicians' mothers) on the seventh tune, and the American poet Pete Simonelli (of Enablers) appears on Top of Duboce / Tyne Bridge Crossing, one of the album’s two sprawling centerpieces.

At its heart, Making Friends is an album about friendship: about distance, reunion, family, and the stubborn need to make music together. It begins with uncertainty and disconnection, but ends somewhere stronger - with, as put on the closing track, “molta il.lusió per lo que pugue vindre” or “much excitement for what may come.”

"MODEM - In itself, as a name invented for a band, it's significant. MO comes from "MOdulazione." DEM comes from ''DEModulazione'', logical functions in analog and digital transmissions. And the signal that the Bologna duo AMIN-PECK want to give us is that "Your Fun" and "Valerie" contain artistic and musical information, especially avant-garde, created in an electronic style with strong new wave tendencies, but absolutely ahead of its time. Among the Italian discos of end 70s that represented a cultural phenomenon that has remained in the collective imagination, ''Picchio Rosso'' stands out. Besides serving as an entertainment venue for thousands of young people, it served as a bridge between DJs and many talented young musicians. The discotheque was the laboratory for 4 Italo-Disco productions, all recorded at the Amin-Peck studios in Bologna, under the direction of Giancarlo Meo, who, after the successes of Easy Going and Vivien Vee and other Claudio Simonetti productions such as Capricorn and Kasso, enjoyed great esteem and prestige. This is how excellent Italo-Disco songs like "Another Song" by Music Service, "Eve of Destruction" by Vivien Vee, "Boogaboo" by The Jugglers, and "Running Straight" by Amin-Peck were born, the latter being the true musical architects of Peecker Melody, including the one-off project MODEM.. What can be said about "Your Fun" and the instrumental "Valerie"? Simple, slightly hypnotic, wellconstructed, and catchy songs. Just as the two songs were mixed by various Picchio Rosso DJs of the time--Luca Zanarini and Silver were the most legendary--Best Record has reissued them, with the same cover designed by Leonard Parker and featuring Claude Gorial, the man who 40 years ago designed the original cover and the current reissue. Same names, same success !!!"

(incl. Nina Simone, The Swiss, Greko Feat. Gosha, Toto , Nneka, Reflekt Feat. Delline Bass, Ragged Life & Julien Jabre) After the successful release of 12 Inch Lovers vinyl 1 & 2, a sequel was inevitable. Again 2 compilations with a fresh and contemporary mix of true classics combined with more recent, hard to find club hits.

2026 Repress

We travel back to the early days of proper Tech House during 2003. Picture the scene, in Online Studios, Croydon, London UK and Evasive label boss teams up with his friend Simon Copleston (Iteration X).

Following on from the success of Timecheck by Iteration X, Rob & Simon create this new collaboration to fuse their distinctive production sounds together as one unit under a new moniker 'Rob & Si'. They delivered their first record together with Roll One Up / Zebras which became the 9thEP in the Evasive Records story.

Given her extensive and varied recording catalog, if you're looking for a place to explore the talents of the late Nina Simone, then 1965's I Put a Spell On You is a great place to dip your toes - particular if you want to start with her more pop oriented sides.
The set features a truly eclectic mixture including stabs at jazz (the instrumental "Blues On Purpose"), R&B (the title track), French chanson ("Ne Me Quitte Pas") and a number of show tunes.

Forever – Jazz steht für zeitlose Eleganz und die Essenz eines Genres, das Generationen geprägt hat. Diese stilvolle Vinyl-Ausgabe vereint ausgewählte Meisterwerke und schafft eine Atmosphäre zwischen sanfter Melancholie, swingender Leichtigkeit und virtuoser Improvisation.

Mit unvergesslichen Interpretationen von Nina Simone, Louis Armstrong und Ella Fitzgerald uvm, entfaltet sich ein Klangbild, das sowohl entspannt als auch inspirierend wirkt. Instrumentale Höhepunkte von Miles Davis und Dave Brubeck runden das Hörerlebnis ab.

Forever – Jazz ist mehr als eine Sammlung – es ist ein stilvoller Begleiter für besondere Momente und ein Muss für alle, die echten Jazz in seiner schönsten Form genießen möchten.

Ltd Edition 10"

Budapest based concept label Blue Sun welcomes formerly independent local afrobeat-jazz ensemble to its catalogue with a nuanced 4 tracker EP. The release not only marks the beginning of the collaboration, but a definite new musical direction in the band’s life.

Written in a one week jam session retreat in the Hungarian countryside, and recorded at one of the highest peaks of Hungary after a year of global touring, The Garden becomes an amalgamation of the band's personal and artistic experiences. The material conveys a more jazzier approach, with complex harmonies, and an almost cinematic, dreamlike atmosphere, somewhat distancing from (but not completely forgetting) the previously emphasized, dance-oriented Afro- and Latino roots. Song for Ramon serves as the EP’s emotional climax inspired by the passing of a close friend and local underground chef pioneer.

Formed in 2019 in Budapest, Hakumba is a staple of the Hungarian festival circuit, with a growing international presence (SXSW London, SHIP, PIN Music Showcase). They’ve recently finished a tour in Australia this January.

The groove-driven ensemble blends afrobeat, jazz, and various strands of world music into a sound that is both rhythmically powerful and harmonically adventurous. With an eleven-piece lineup featuring an expansive horn section, multiple vocalists, percussion, and keys, the band moves effortlessly between dancefloor energy and more intricate, jazz-influenced musical ideas.

Like the band’s previous album, the EP was again recorded, mixed, and mastered by András Weil, the producer behind The Qualitons, the only hungarian band ever performed Live at KEXP. This continuity preserves Hakumba’s recognizable sonic identity while giving space for new colors and more complex musical ideas to emerge.

Written & performed by:

Soma Számel – drums
Endre Szép – bass
Imre Hegedűs – guitar
Zalán Bendegúz Huff – guitar, vocals
Csongor Mari – keys
Noel Nagy – percussion, vocals
Dorka Foster – flute, vocals
Kristóf Szabó – alto sax
Alpár Sikó – tenor sax
Gáspár Simon – trumpet
András Téglásy – baritone sax

Produced, recorded, mixed and mastered by Andras Weil
Artwork by Eszter Lukács
Graphic design by Péter Tóth
Manufactured by AD Records
Distributed by Rush Hour

Recorded at Galyatető, Hungary

Released under the Blue Sun

Do You Feel Me sees New York house staple NY’s Finest (Victor Simonelli) return with one of his most iconic productions, bringing the unmistakable garage house sound back to vinyl.

Built around uplifting piano lines, soulful vocal elements and groove-led rhythms, the track captures the feel-good energy of classic New York dancefloors and remains a timeless cut for DJs.

A recognised name within the New York house scene, Victor Simonelli’s productions sit comfortably alongside legendary artists such as Masters At Work, Todd Terry and Tommy Musto.

Back on fresh 12" red vinyl and featuring full suite of mixes including Club Mix, Instrumental, Dub, Bonus Beat and Piano Pella, this release brings an essential garage house record to a new generation while maintaining strong appeal for long-time collectors.

‘They went beyond punk before punk had properly started…the entire album is a controlled explosion of ideas. Nearly fifty years on, This Heat’s debut is something the world has still not completely caught up with.’ - Simon Reynolds

‘Over the years, there have been bands to play as aggressively, or even as strangely, but very few have been able to rise from their collective influences and histories to create music so singularly distinctive and inspiring.’ – Pitchfork 9/10

‘This Heat sounded like the future then ... and still do now.’ - Dan Snaith (Caribou)

Although widely considered to be Post-Punk’s finest, This Heat actually began performing and recording their music in 1976, the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica.

Numerous critics have recognised the band's influence on the music of Sonic Youth, Glenn Branca, Steven Wilson, Public Image Ltd., Radiohead, Swans, Shellac, Young Knives, Black Dice, Lightning Bolt and numerous other experimental and post-rock bands. Disbanding in 1982 they have left an undeniable legacy that has only continued to grow in stature and relevance.

The album This Heat, also known to fans and critics as the ‘Blue and Yellow’, was their eponymous debut release, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation (producing for example the proto-drum and bass ‘24 Track Loop’) with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did – including gigs – and tracks such as “Water” were entirely improvised in the studio.

Having recently passed the 50 year anniversary of their first gig, and the recording of material that appears on their debut album, the group’s surviving members Charles Bullen and Charles Hayward, true to their DIY roots, have set up an imprint to release their recordings for their growing fan base that is increasingly recognising their influential place in music history. 


Agent By Default In Hybrid Systems' is a deep dive into today’s and tomorrow’s society. Across four tightly constructed tracks, cinematic-surrealist musician and DJ JessyJiggy reflects on how mankind and machine-driven systems coexist and evolve. We act, respond, and adapt as agents by default caught between instinct and structure. Built for movement yet rooted in observation, every progression feels less like a command and more like a suggestion inviting listeners to negotiate their own place inside the grid.

This poetic concept translates into music where analogue and digital tools merge into a hybrid sound. Compositions carry an almost automatic rhythm that drives motion while sound design elements subtly reference modern technology. Raw, bass-driven, minimal and techno showcase the breadth and progressiveness of Rotterdam with its brutalist spirit embedded in every detail.

Carefully mixed and mastered by Simon Lescure, who works at the intersection of sound design, club culture, and contemporary art, the record is optimized for a wide spectrum of sound systems while offering a distinct, full-bodied experience on the dance floor. With his vision of music as a system of memory and tension, a way to hold time and transmit presence, raw energy is brought into focus, shaping JessyJiggy's signature sound with clarity, weight, and intent.

A work committed to pushing boundaries and contributing something lasting to the electronic music landscape, this record is crafted to become a cult classic.

In 2019, La Volte released Les Furtifs, the latest novel by science fiction writer Alain Damasio. At that time, to mark the publication, Damasio invited the band Palo Alto to join him on stage in response to an invitation from the literary festival Oh les beaux jours !, held at La Criée – Théâtre national de Marseille. What was initially intended as a one-off performance led to a multi-date tour across France. The show performed at La Maroquinerie was filmed and recorded in multitrack and will be release on the 12th of June 2026 on Hublotone (HUBLO006CD).

At the same time, to join this release, Palo Alto invited eight artists to remix the pieces composed for the show: Ptôse, Pacific 231, Judith Juillerat, Herb Duncan, Norscq, Thierry Zaboitzeff, Lefdup & Lefdup, and Electronicat.

Bringing together the best of the French underground music scene, these tracks echo avant-garde artists such as Coil and Tuxedomoon, blending electronic music with string instruments, instrumental compositions with acid club influences. They will be available on vinyl in a gatefold sleeve featuring artwork by Kiki Picasso (ex-Bazooka). Inside the gatefold, an exclusive text by Alain Damasio introduces the project.

Palo Alto is a French band formed in Paris in the late 1980s. They have recorded a dozen albums and developed several projects featuring guest musicians such as Scanner, Simon Fisher Turner, Ramuntcho Matta, J. G. Thirlwell / Foetus, Richard Pinhas and the New York trumpeter Rhys Chatham. They contributed to a tribute album to John Balance / Coil and asked a dozen artists to reinterpret "Half-Mute", Tuxedomoon’s debut album, featuring the original members of the American band (Steven Brown, Blaine L. Reininger and Peter Principle). In 2018, they were selected by the Californian band The Residents to take part in a cover album released on Cherry Red Records. Their latest album, dedicated to the philosopher Gilles Deleuze, was released on the Belgian label Sub Rosa in 2020.

a A1 - The Stealthy Ones remix By Ptôse
[c] A2 - Une Grâce [remix By Pacific 231]
[e] A3 - Menace Prophylaxie Niveau 6 [remix By Judith Juillerat]
[g] A4 - La Ville Est À Nous ! [remix By Herb Duncan]
[i] A5 - Lueur Ultramarine [remix By Norscq]
[k] B1 - Une Clameur De Sabbat [remix By Thierry Zaboitzeff]
[m] B2 - Un Cri [remix By Lefdup & Lefdup]
[remix By Electronicat]

[a] A1 - The Stealthy Ones [remix By Ptôse]
[c] A2 - Une Grâce [remix By Pacific 231]
[e] A3 - Menace Prophylaxie Niveau 6 [remix By Judith Juillerat]
[g] A4 - La Ville Est À Nous ! [remix By Herb Duncan]
[i] A5 - Lueur Ultramarine [remix By Norscq]
[k] B1 - Une Clameur De Sabbat [remix By Thierry Zaboitzeff]
[m] B2 - Un Cri [remix By Lefdup & Lefdup]
[remix By Electronicat]

On his new album, Micha Acher rearranged compositions for bands such as Tied & Tickled Trio and Ms. John Soda from previous years.

Why are we interested in ghosts? What fascinates us about the eerie? According to cultural theorist Mark Fisher, the allure that the eerie possesses is not captured by the idea that we „enjoy what scares us“. It has, rather, to do with a fascination for the outside. For that which lies beyond standard perception, cognition or experience, as he writes in his book „The Weird and the Eerie“.

In fact, also none of the 15 pieces from Henry and the Ghost is really scary. On the contrary, they all feel strangely familiar. Like revenants or doppelgängers, which in fact they are. They have all been released before. But in a different form. In different line-ups. With different band projects such as Tied & Tickled Trio, The Notwist or the Alien Ensemble.

With the „Songbook“, Micha Acher's aim was, as he says, to find out how the familiar pieces sound in a chamber music instrumentation. Therefore he met with Theresa Loibl (bass clarinet, piano), Timm Kornelius (bassoon), Markus Rom (guitar, banjo, electronics) and Simon Popp (drums, percussion) in his living room for a musical séance in the summer of 2022. The séance lasted two days. Afterwards, Markus Rom (Oh No Noh), added some haunting electronical ideas.

The mood of most of the pieces is melancholic. There are surprising twists and siren-like melodies. Just as ghost stories should be. However, most of the songs sound very light-footed. With their feet in pop, folk, jazz and classical music. Pieces such as „Johanna“ with its wheezing harmonium and spooky piano, or the dreamy „Modest Farewell“ on the other hand have a cinematic flair. Immediately faces and scenes arise in the mind. But at the beginning, there is „Hamlet“. It starts with ghostly electronics and merges into a calm, almost classical guitar piece. Could it be that the ghost of Hamlet's father is hiding between the strings?

„34E“ begins with a banjo. Then the deep humming of Micha Achers sousaphone and the other brass instruments kick in. In the slow, solemn „Aelita“, the sousaphone starts a dialogue with a children's piano. With the banjo and the other wind instruments acting as mediators. The title of „All Tomorrow's Past“ brings Velvet Undergrounds „All Tomorrow's Parties“ to mind. Another ghost from the past. What connects the two pieces is free-floating percussion, which accompanies the sumptuous melodies.

„Arc“ takes us on an exhilarating voyage at sea, with the sousaphone providing powerful propulsion. Towards the end, things get quite turbulent. With the clarinet stirring up the water, before the sea calms down again. „Henry and the Ghost“ is characterised by a ghostly mood change between major and minor. In „Radio Four“ the banjo with its stoic chords keeps the lively brass section in check. „Solid Ground“ is imbued with melancholy. „Space Minor“ takes us into outer space, with the power of sousaphone and percussion.

„Tomorrows“ is filled with cautious optimism. And the concluding „Nordlead“ turns out to be a revenant of the instrumental „N.L.“ from The Notwist's legendary album „Shrink“ from 1998. In the new version, the piece sounds like a distant echo. One that also brings to mind how Micha Acher's music has evolved. Which new worlds he explored and opened up since the nineties. And yet Acher's signature is recognisable in every single note of this fascinating „Songbook“.

Mood Child returns with Various Moods Vol. 5, a razor-sharp six-track album curated by Manda Moor and Sirus Hood. Bringing together some of their biggest weapons in their sets, the release delivers a standout selection of special records and high-impact dancefloor cuts from a finely tuned cast of artists.

Built with the club in mind, Various Moods Vol. 5 moves through deep, rolling grooves, stripped-back minimal flavours and tougher tech-driven moments, with each track carrying its own identity while hitting with real force. The result is a versatile and powerful package made for peak-time pressure, late-night sessions and serious selectors.

The release marks the return of Antss, Paul C and Francis De Simone, while also welcoming RSquared and Drumcapelli for their first outing on Mood Child. Adding further weight to the project is a standout contribution from highly respected UK artist wAFF, rounding out a release full of character, energy and club-ready impact.

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records, received a Taite Music Prize nomination and saw them win Best Group at the 2025 Aotearoa Music Awards. They’ve toured extensively, sharing stages with the likes of Queens of the Stone Age, IDLES, Acid King, Brant Bjork and Kikagaku Moyo. With Dungeon Vision, Earth Tongue deliver their most immersive work yet, a richly human, fuzz-soaked journey that bottles the magic of their live show and cements their reputation as one of the most exciting psych rock acts on the planet.

Spinnin' Records, one of the most influential dance music labels, celebrates its 25th anniversary with the Chapter 1 compilation featuring a selection of iconic hits that have shaped the global electronic music scene. Since its founding in 1999, Spinnin' has been a trendsetter in electronic dance music (EDM), nurturing superstar artists and groundbreaking tracks across house, future bass, big room, and deep house genres.

This edition of Spinnin' 25 Years...Chapter 1 double vinyl LP collection includes memorable tracks from legends like Martin Garrix with the chart-topping hit “Animals”, "Stumblin' In" by CYRIL, "Secrets" by Tiësto & KSHMR, "Tsunami" by DVBBS & Borgeous, “Bullit” by Watermat, “Toulouse” by Nicky Romero, "Show Me Love" by Sam Feldt and 23 more tracks showcasing the signature sound and major contributions to the label.

Spinnin' 25 Years...Chapter 1 is available as a limited edition on green vinyl. The iconic Spinnin' logo is printed with an uv spot varnish on the gatefold sleeve.

Erased Tapes are proud to re-issue The Red Book by Penguin Cafe, with an expanded vinyl track list which now includes the CD and digital-only “And Yet…” plus two tracks from the limited-edition Umbrella EP. This new edition will be available on limited translucent vinyl and CD, both with updated art from Studio Torsten Posselt utilising the original drawing from renowned British sculptor and Simon Jeffes’ partner Emily Young.

Penguin Cafe was founded by Arthur Jeffes in 2009, bringing together a talented and disparate group of musicians initially to perform his father Simon Jeffes’ legacy of world-renowned Penguin Cafe Orchestra music, ten years after his untimely death in 1997. Following the release of A Matter of Life shortly after founding, The Red Book was released in 2014 to critical and fan acclaim.

“The name The Red Book comes from the book by Karl Jung of the same name. The book is about, among other things, the way our subconscious interacts with and intrudes into our daily lives. I thought this fitted what we were trying to achieve with the second album quite neatly — namely, exploring musical worlds that are at once both familiar and strange. There is another meaning which is that the main mastered disc you end up with, the one from which all other copies will be made, is called the Red Book Master — so somewhere at some point there will be a disc on which will be written “The Red Book — Red Book Master.”

The tracks on the album all fall on some point along a scale going from gently Apollonian at the one end to perhaps a bit more Dionysian at the other. For our purposes this would be the ‘spacey’ end — with tunes like 1420 and Aurora, and the ‘imaginary folk’ end — with tracks like Odeon, Radio Bemba and Black Hibiscus. The tracks between these extremes are, perhaps with Silent Sun in particular, an attempt to blend these two parts.”

Gap Mangione's monumentally influential Diana In The Autumn Wind. AKA BEWITH200LP. And, without question, Be With's White Whale.

They said it could never be done. And with good reason.

We've spent the past 12 years trying to license this legendary 1968 recording from Gap and, after much work, it's finally here. Remarkably, this is the first ever vinyl reissue of Gap Mangione's Diana In The Autumn Wind, produced with the full and extensive participation of Gap. An exceedingly rare album, it's been coveted by funk, soul, jazz and hip-hop sample fiends for decades.

It's unarguably *the* most sought after album for J Dilla / Madlib sample collectors. It has also been brilliantly sampled by A Tribe Called Quest, Large Professor, Ghostface Killah, Kendrick Lamar and Talib Kweli.

But this record is so much more than a sample-spotters curio. It's solid gold throughout. Bursting with killer funky-jazz grooves and tracks adorned with warm electric piano, the release is notable for featuring some extremely significant players at the very outset of their careers; Tony Levin, at 21, whose superb playing on both acoustic and electric bass was the harmonic mainstay of the trio and Steve Gadd, at 23, one of the greatest drummers of his generation.

With acceptable copies of this holy grail changing hands for $400, to call this reissue "much-needed" underplays just how vital it is. Gap's story is told in his words alongside rare photos across a sumptuously designed 2-page insert and, to augment this deluxe edition further, its all wrapped up in a beautiful, no-expense-spared luxury tip-on sleeve, as per the original hens-teeth release. And, while we're talking packaging, just take a look at that cover - a work of art in and of itself.

The tracks are short but complex, with that extraordinary rhythm section backing the beautiful piano, organ and electric piano work of Gap. It's like the best ever library funk breaks record you never heard - but all your favourite golden age rap producers were all over it, long ago. It's a stunning blend of the vibrant, driving music of the Gap Mangione Trio coupled with the sensitive composition and superb orchestration of Gap's legendary brother, Chuck Mangione, who helmed an amalgam of seemingly disparate elements – rock, big band jazz, solo improvisation and "classical" music - into a spectacularly cohesive whole that has aged wonderfully well. As Gap himself notes in the liners, "with this group I was able to explore and add new and exciting elements from rock, Brazilian and then-current pop music."

Opener "Boy With Toys" triumphantly swaggers out the gate, all big band horns, flutes and dextrous organ work. The synthesis of everything going on is nothing short of stunning. When one wise YouTube commentator called this tune "old school superhero music", Gap agreed. Rap luminaries did, too, amongst them Talib Kweli, who rapped over DJ Scratch's chopped up intro for "Shock Body" on his Quality album back in 2002.

You've barely recovered from that incredibly affecting opener when you get hit over the head with the exquisite title-track. And now you see how two of the greatest beats of all time emerged from one single track produced nearly 50 years earlier. Unforgettably utilised by Dilla for Slum Village's heartbreakingly good "Fall In Love" and then Madlib for his "Official" beat for Dilla to rap over, on the Jaylib record. Regardless of the records it went on to spawn, this is just a staggering tune in its own right. Be beguiled by the flutes and the flutter tonguing, the counter-melody from the trombones, the soprano sax solo. All of it. Simply beautiful.

The questing organ and horn workout "Long Hair Soulful" deserves a lot more attention, overshadowed somewhat by the opening two monsters but no less fantastic. It swings, it grooves and Gadd and Levin truly cook. Up next, Gap's wonderfully percussive, mellifluously piano-heavy cover of "Yesterday" by some fellas called The Beatles. It's a subtly arresting gem. "The XIth Commandment" is damn fine, with thick, gorgeous electric piano and snappy drum work underpinning chaotic soundtracky horns. To close out the side, "St. Thomas" showcases the "fourth" member of the Gap Mangione Trio, conga drummer Dhui Mandingo. Having performed with the Trio since 1965, Dhui‘s African-based and jazz-latin-influenced style amazed listeners and its way to hear why.

Opening the B-Side, standard "You're Nobody Till Somebody Loves You" breezes along in the late-night jazz club fashion before things get super deep with the outstanding and - up to now - un-sampled "Pond With Swans". It's simply heavenly, and how its moody, melancholic intro has yet to be pilfered is anybody's guess. It oscillates between gentle, sombre movements and bombastic grooves, equally hypnotic and joyous. The rendition of "You Are My Sunshine" is yet another showcase for Gap's virtuoso playing and Gadd's mastery of the pocket. Indeed Gadd's drumming on "Free Again" is nothing short of neck-SNAPPING! Ghostface took it for not one but two "Iron's Theme" tracks across his seminal Supreme Clientele. It's got that Galt MacDermot "Coffee Cold" feel. Suuuuuper cool. The frantic "Dream On Little Dreamer" hurtles along and must've surely had the whole room absolutely swinging from the chandeliers back in Rochester in the late 60s. The album closes with the magnificent Graduate Medley, featuring memorable renditions of "Scarborough Fair", "The Sounds of Silence" and "Mrs. Robinson". The warm electric piano lines of the former were sampled by The Ummah (Dilla again!) for Tribe's "Pad & Pen" from their reappraised final album, The Love Movement, as well as by Large Professor on his much-loved "The LP (For My People)".

Under the watchful eye - and extremely attentive ears - of Gap Mangione himself, the audio for Diana In The Autumn Wind has been carefully remastered by Be With regular Simon Francis, with a few much needed tweaks here and there, according to the artist's wishes. At the prestigious Abbey Road Studios, Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at the always stellar Record Industry in Holland. The artwork restoration has taken place here at Be With HQ and has that drop-dead gorgeous cover artwork popping like new. Buy on sight!

Originally conceived as a massive multi-band, multi-volume covers project, this album saw Streetlight tackle eleven songs that influenced Kalnoky’s musical development. The tracklist is a genuinely eclectic mix, ranging from Radiohead and Bad Religion to Paul Simon and a 1950s Louis Jordan number. Rather than simple recreations, the band fully transforms each song through their own lens, making the covers feel like natural extensions of their catalog. Only one volume was ever released, leaving the larger 99-song concept permanently unfinished.

This is one of Nina Simone’s best albums in a long time. She’s taken a flock of Duke Ellington tunes, some familiar and some not-so-familiar, and handed them interesting and intriguing renditions in her own special style. The album’s a bit straighter than later efforts, with large backings by Stu Phillips that also feature vocals by the Malcolm Dodds Singers. The result is a masterpiece, proof that even in her early years, Nina could completely transform anything she laid her hands on, and unlock a soulful depth that even the original recordings might have missed. Titles include “I Got It Bad”, “Solitude”, “The Gal From Joe’s”, “It Don’t Mean A Thing”, and “I Like The Sunrise”.

“The Long Transition From Death To Wisdom” marks a new chapter in Dmitry’s evolving sonic world – a contemplative, slow‑burning journey through grief, memory, and the quiet emergence of clarity. Rooted in a brooding fusion of shoegaze, goth, and darkwave, the album drifts through washed out guitars, spectral synths, and poignant vocals – its emotional landscape suspended between sadness and awakening. On vocal duties is Dmitry’s longtime collaborator Valeria Simonova, whose presence deepens the album’s atmosphere. Each track feels like a step forward in the ritual of becoming aware of one’s own existence, moving through silence and ancient memories toward a sense of spiritual renewal.

The album opens with the mysticism and layered metaphors of “Liar,” before descending into the ancient, biblical presence of “Serpent Queen.” Midway, “Zenith” rises with shimmering synths and steady, triumphant percussion, while “Echoes of Yesterday” lingers in celestial melancholy, dissolving the boundary between remembrance and insight. The Bside begins with “The Other Side of Life,” a threshold into a quieter, more reflective space, followed by the meditative, ritual like ambience of “Shrine of Ruins.” Closing track “Cold” offers a final exhale from the fading realm of the past – an acceptance shaped by distance, time, and the erosion of old wounds.

An array of musicians contributed to the recoding of the album: Mathys Dubois (No One Is Innocent, exBlack Strobe), Loïc Maurin (M83), Victor Sologub (Deadушки, Странные Игры), Alexander Titov (Кино, Аквариум), Ben Easton (Deary), and others. The album was mastered at Abbey Road Studios by Miles Showell.

Zeitgleich mit dem 40-jährigen Jubiläum der Band wurde Complete B Sides: 1988-97 von Pixies neu remastert und wird 25 Jahre nach seiner ursprünglichen CD-Veröffentlichung erneut herausgebracht. Das Album erscheint als Doppel-LP auf schwarzem Vinyl, als Doppel-LP auf klarem Vinyl sowie als Doppel-CD. Außerdem wird diese Veröffentlichung damit zum ersten Mal überhaupt auf Vinyl gepresst. Complete B Sides versammelt alle B-Seiten aus der klassischen 4AD-Ära der Band und enthält einige der besten "anderen" Songs der Pixies, darunter "Wave of Mutilation (UK Surf)", "Into The White" und "The Thing". Ursprünglich 2001 auf CD veröffentlicht, als sich die Band bereits seit fast einem Jahrzehnt in einer Pause befand, enthielt Complete B Sides: 1988-97 alle 19 Nicht-Single-Tracks aus der unglaublichen Reihe von Singles, die die Band zwischen 1988 und 1991 veröffentlichte. Zum Abschluss wurde die instrumentale Version von "Letter to Memphis" hinzugefügt, die zuvor nur auf der US-Version der Veröffentlichung der Alec Eiffel-Maxi-Single erschienen war. Da auf vier Vinylseiten Platz für mehr Musik vorhanden ist, enthält diese aktualisierte Version zusätzlich sechs Live-Tracks, die aus späteren Pixies-Veröffentlichungen stammen, darunter aus der 1997 erschienenen Neuauflage von Debaser. Für diese aktualisierte Edition wurden alle Titel von ihren ursprünglichen analogen Bändern von Kevin Vanbergen neu remastert. Das Ergebnis klingt erstaunlich frisch und vervollständigt zugleich seine umfangreiche Arbeit am gesamten Katalog der Band. Diese neue Vinyl-Edition fungiert außerdem als Begleitstück zur kürzlich erschienenen Compilation Live at the BBC. Designer Chris Bigg (v23) hat dafür ein eindrucksvolles neues Artwork geschaffen und dabei Fotos aus dem Archiv von Simon Larbalestier verwendet, die ursprünglich für die Pixies vorgesehen waren, später jedoch verworfen wurden. Beide arbeiteten seit vielen Jahren mit der Band zusammen und gestalteten beide Veröffentlichungen parallel, um an den verstorbenen visuellen Direktor der Band, Vaughan Oliver, zu erinnern und ihn zu ehren.

Zeitgleich mit dem 40-jährigen Jubiläum der Band wurde Complete B Sides: 1988-97 von Pixies neu remastert und wird 25 Jahre nach seiner ursprünglichen CD-Veröffentlichung erneut herausgebracht. Das Album erscheint als Doppel-LP auf schwarzem Vinyl, als Doppel-LP auf klarem Vinyl sowie als Doppel-CD. Außerdem wird diese Veröffentlichung damit zum ersten Mal überhaupt auf Vinyl gepresst. Complete B Sides versammelt alle B-Seiten aus der klassischen 4AD-Ära der Band und enthält einige der besten "anderen" Songs der Pixies, darunter "Wave of Mutilation (UK Surf)", "Into The White" und "The Thing". Ursprünglich 2001 auf CD veröffentlicht, als sich die Band bereits seit fast einem Jahrzehnt in einer Pause befand, enthielt Complete B Sides: 1988-97 alle 19 Nicht-Single-Tracks aus der unglaublichen Reihe von Singles, die die Band zwischen 1988 und 1991 veröffentlichte. Zum Abschluss wurde die instrumentale Version von "Letter to Memphis" hinzugefügt, die zuvor nur auf der US-Version der Veröffentlichung der Alec Eiffel-Maxi-Single erschienen war. Da auf vier Vinylseiten Platz für mehr Musik vorhanden ist, enthält diese aktualisierte Version zusätzlich sechs Live-Tracks, die aus späteren Pixies-Veröffentlichungen stammen, darunter aus der 1997 erschienenen Neuauflage von Debaser. Für diese aktualisierte Edition wurden alle Titel von ihren ursprünglichen analogen Bändern von Kevin Vanbergen neu remastert. Das Ergebnis klingt erstaunlich frisch und vervollständigt zugleich seine umfangreiche Arbeit am gesamten Katalog der Band. Diese neue Vinyl-Edition fungiert außerdem als Begleitstück zur kürzlich erschienenen Compilation Live at the BBC. Designer Chris Bigg (v23) hat dafür ein eindrucksvolles neues Artwork geschaffen und dabei Fotos aus dem Archiv von Simon Larbalestier verwendet, die ursprünglich für die Pixies vorgesehen waren, später jedoch verworfen wurden. Beide arbeiteten seit vielen Jahren mit der Band zusammen und gestalteten beide Veröffentlichungen parallel, um an den verstorbenen visuellen Direktor der Band, Vaughan Oliver, zu erinnern und ihn zu ehren.

Summer Card, is the debut release on Safe Trip of SDK – a new project by Simone de Kunovich. Refining his sound into a more glossy, dancefloor-driven direction, this summer anthem blends nostalgic, early-2000s chords with a clean, propulsive groove. The release includes a vinyl-only DJ Tool tweak by Young Marco (M’s Freak Mix), pushing things into obscure territories. You have been hearing this one been played out by a select few past year, and now its finally here!

It's with great pleasure that we present the 100th release of Quintessentials! Happy 100! Started in 2008, Quintessentials` slogan was and still is "deep, raw and real". On the way to the 100th release, we discovered talents like (just to name but a few...) Anton Zap, Baaz, Ugly Drums, Mat Chiavaroli, Simon Hinter or The Black Fan, as well as featuring established producers like Luke Solomon (as Lukatron), Borrowed Identity, Alton Miller, Simoncino, Soul of Hex, Felipe Gordon, Javonntte, KRL, Andy Ash or Ralph Session. Quintessentials has never just released stricly one type of music, but put together cool tunes from the House spectrum: Deep House, NY House, Detroit House, Acid House, Chicago House....or do we wanna call it just "House music"? This classic old school 6-track compilation features again a multi house culture and fuses present and past! Quite essential we think!

King Street Remixed – Dam Swindle revisits classic material from the legendary King Street Sounds catalogue, with Dutch duo Dam Swindle delivering three fresh interpretations of timeless house cuts.

Featuring vocals and productions from house mainstays Arnold Jarvis, DJ Pierre and 95 North, the EP blends classic King Street with Dam Swindle’s signature deep house sound.

Warm basslines, musical chords and groove-driven drums give these remixes strong crossover appeal between soulful house fans and modern deep house DJs, with all three cuts built for dancefloor play.

Importantly, this marks the first time these Dam Swindle remixes have been available on vinyl, making the release appealing for both DJs and collectors of the King Street catalogue.

Do You Want Me Baby sees Cloud 9 deliver a timeless garage house cut from New York legend Victor Simonelli, returning on fresh 12” vinyl.

Built around uplifting piano lines, soulful vocal hooks and groove-driven rhythms, the track captures the feel-good energy of classic US garage house and remains a staple for DJs across house and garage sets.

Featuring a full suite of mixes including Club Mix, Deep Dub, Bonus Beats and Instrumental, the release offers strong versatility for DJs looking for both peak-time energy and stripped-back club tools.

With a sound rooted firmly in the New York house tradition, this release sits comfortably alongside artists such as Masters At Work, Todd Terry and Kenny Dope, making it a natural fit for stores supporting classic US house and garage.

Back on fresh 12" vinyl, this iconic track continues to resonate with both long-time collectors and a new generation of DJs.

A reliable and highly playable catalogue piece for stores supporting classic house and garage.

DJ Support: Ashley Beedle, Phil Mison (Ibiza legend), Nick The Record, Kenneth Bager (Music For Dreams), Ross Allen (NTS, Worldwide FM), Simon Dunmore, Cedric Woo (Beauty & the Beat), Ban Ban Ton Ton, The Mighty Zaf (Love Vinyl), Femi Fem (Young Disciples), Jay Negron (NYC legend), Bruce Forest (Better Days, NYC), Bruce Tantum (NYC), Colleen “Cosmo” Murphy, Mr Shiver, Hugh Mane, Eccentrics Disco, Eclectics Disco, Fannoire Ge, Percebes Records (Lisbon), For Mankind (Pikes, Ibiza), S/A/M (Cafe Del Mar, Ibiza).

Winner of the 2020 Bob James “Black Lives Matter” remix competition on François Kevorkian’s World Of Echoes Facebook page, Love For Black Lives is available on vinyl for the first time, alongside 2 brand new mixes, on this 4-track EP. It is the debut release on Hobbes Music’s new sub-label Noetic Rhythm, dedicated to releasing music that brings people together on the dancefloor.

Leonidas debuted in 2012 with Sequential EP on Kay Suzuki's Round In Motion label, gaining praise from industry legends. He has collaborated with Hobbes on several releases, including the Balearic hit Web of Intrigue, which topped Bill Brewster’s 2017 DJ poll. His music has appeared on compilations like DJ Harvey’s The Sound of Mercury Rising Vol II, as well as BBC Radio 1 & 6 music.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."

Frisch gekrönt mit ihrem ersten GRAMMY Award in der Kategorie ,Bestes R&B-Album" für ihren Beitrag zu Leon Thomas' MUTT kehrt die unverwechselbare Sängerin/Altistin mit "Yearnalism" zurück, ihrem dritten Studioalbum, das von Selbstbewusstsein, Fürsorge und befreiender Liebe durchdrungen ist. Die Singer-Songwriterin und Produzentin definiert ,Yearnalism" als den Prozess und die Dokumentation von Sehnsucht in ihren vielen Formen: ,Sehnsucht nach Freiheit, Sehnsucht nach Liebe, Sehnsucht nach dem, was man nicht haben kann, Sehnsucht nach Erweiterung." Diese kompakte LP mit 12 Songs, die bald zu Klassikern werden, zeichnet eine holprige Roadmap der Sehnsucht, frei von Ego. Baby Rose hat fast ein Jahrzehnt lang auf diesen Moment hingearbeitet. Aufgewachsen zwischen Washington D.C. und Fayetteville, N.C., geprägt von Künstlern wie Nina Simone, Donny Hathaway und Janis Joplin, ist die als Jasmine Rose Wilson geborene Musikerin seit ihrem Debüt ,To Myself" aus dem Jahr 2019 eine feste Größe im Alternative R&B. Damals waren es der rauchige Klang ihrer Stimme und eine für ihr Alter ungewöhnlich reife Ausstrahlung, die die Zuhörer zum ersten Mal in ihren Bann zogen. Seitdem hat sie sich auf Alben mit Ari Lennox, Big K.R.I.T., Q, BADBADNOTGOOD und J. Cole behauptet. Sie lieferte den Abspann-Song zum Hollywood-Blockbuster ,Creed III" und brachte ihr Talent sowohl vor als auch hinter der Kamera in A24s ,Materialists" ein, indem sie dem Soundtrack des Films zwei Songs von eindringlicher Textur schenkte und in einem Cameo-Auftritt als Hochzeitssängerin auftrat. Zu ihren Bewunderern in der Branche zählen Schwergewichte wie SZA, Alicia Keys, Kendrick Lamar, J. Cole, H.E.R., Kehlani, James Blake und Olivia Dean.

Brighton-born, Cincinnati-based producer Marsh a.k.a Tom Marshall. ‘Lailonie’ is Marsh’s second studio album and debut Anjunadeep LP. After joining Anjunadeep back in 2018 via ‘Explorations 07’ with ‘Black Mountain’, Marsh has gone on to release a string of well received original EPs including ‘Prospect’ with label mate Nox Vahn, ‘Eu Topos’ and his latest ‘Lost In You’ as well as remixing some of the biggest artists in dance music including Above & Beyond and Armin van Buuren.

Marsh has previously released on Silk Music, where he released his debut album ‘Life On The Shore’ in 2017; and Enhanced Music’s progressive house imprint Colourize. Over the past 2 years, Marsh has become a firm Anjunadeep fan favourite all the while establishing himself as a future star of the electronic scene with a steady stream of tastemaker backing from Joris Voorn, Rufus Du Sol, Kölsch and BBC Radio 1’s Pete Tong and Phil Taggart. Recent years have seen him tour globally with Above & Beyond as well as share the bill with legends like Sasha & Digweed and Guy J.

Bassline brings together Russell Ruckman and Marcia Carr for a 12", which was originally part of a 2025 digital album, but now drops on wax and has been remastered for extra punch. Side A opens with the vinyl debut of Rani G & Raul Riena's 'Feels So Right' (World-Life-music Raw Teaser remix), which will soon transfix the floor while the driving groove of Hot Issue's 'Motion 96' is a cool vibe with wet clasp and dusty drums brought to life by cute little melodies and plenty of snap. Side B leans into deeper territory with Mercedes' Living For The Moment (Booker T remix)' and the uplifting dub energy of Never Gonna Give Up. If you like soulful house with a classic New York edge, this one bangs.