quête:soul element

CHTHONIC's award-winning 2018 album Battlefields of Asura reissued on vinyl in September via Svart Records CHTHONIC is a Taiwanese metal band formed in Taipei in 1995, with the members nowadays split between Helsinki and Taipei. Their 2018 album Battlefields of Asura is an award-winning release. With this album, CHTHONIC won their second Golden Melody Awards, Taiwan’s equivalent of the Grammy Awards. CHTHONIC's lyrics are inspired by Taiwanese mythology, folk stories, and history, while its music incorporates elements of traditional Taiwanese folk music, enka, and the sorrowful melodies of Taiwanese opera. These are accompanied by traditional instruments such as the hena and koto. Also integral to CHTHONIC's sound are elements of symphonic black metal and melodic death metal, along with intense riffs and solos. Critics have attempted to categorize CHTHONIC as death metal, folk metal, or black metal, but the band has opted for the simpler label of metal. They've performed at many major festivals around the world, including Fuji Rock and Summer Sonic in Japan, Ozzfest in the US, Download in the UK, and Wacken Open Air in Germany, as well as having toured extensively across Europe, North America, and Asia over the years. Prior to this album, CHTHONIC was signed to Spinefarm Records / Universal Music Group, under which they released three albums and toured internationally. After their 2014 European tour, the band decided to slow down, and vocalist Freddy Lim began his political career. He was elected to Taiwan's Parliament in 2016 and re-elected in 2020. During his tenure, he pushed for LGBTQ rights and gender equality, helping Taiwan become the first Asian country to legalize same-sex marriage, along with advocating for Indigenous rights and other human rights issues..

*Limited edition (500) reissue of The Orchids second album – originally released on Sarah Records in 1991- remastered with the 7” and E.P tracks from the time. Translucent pink*
“The Orchids have a lightness of touch, an autumnal and mellow fruitfulness, a clear-eyed pop nous. Imagine some nexus that takes in Felt, Orange Juice, The Beach Boys and The Go-Betweens”
-Stuart Maconie

“The Orchids can come on like esoteric angels high on Felt and Massive Attack”
– John Mulvey, NME

The early summer bloom of 1992 felt like it had been pollinated by a lot of sunshine-loving records from the year before, optimistic headrushes that embraced hedonistic bliss or at least a sweeter ride. There was still an element of bedroom wistfulness to singles like Higher Than The Sun, Nothing Can Stop Us and even Paris Angels’ Perfume but there was no denying the appeal that techno, rave and Bleep held, especially when it was microdosed. Bands were more willing to experiment with technology and producers, if not necessarily going for all whistles-blazing club bangers.

The Orchids, hailing from the suburbs of Glasgow were unlikely to ever emerge from their hood as contenders for a deal on Soma Records (which had begun in 1991 in that city) but they evidently wanted to stretch their boundaries beyond their introverted debut. Unholy Soul is somewhat breezier than Lyceum. It’s still laced with a Scottish melancholy but there’s more breathing space within the production. They’d hinted as much on their 12” ‘Penetration’ EP from 1991 and lovelorn songs such as Waiting For The Storm and Peaches are now spiked by absent-minded cherubs with an ear for the 3.a.m comedown.

As lead singer James Hackett says today: “Unholy Soul was the first time we had spent more than a couple of days in the studio, doing so after work. It was a thrilling period of creativity and we had most of the songs written but not enough. We didn’t worry about that too much though because with Ian Carmichael there was a new opportunity for studio generation. Also this was the first time we had heard Pauline (Hynds) singing with One Dove so we asked her to sing on some of the songs. We were obviously influenced by a lot of the music of the time but you can still hear it’s The Orchids at heart”.

The next year of course One Dove (with Carmichael programming) released their debut album - produced by Andrew Weatherall - on the Boy’s Own label. It felt like there was a lot of ideas being spun back and forth between artists and producers in the early 90s. If some of the records also sound very much of that time that’s no bad thing either. There was a lot of loved-up nostalgia for the 60s then so it’s no surprise that many of the records have a youthful exuberance coupled to a technological innocence, that’s the charm.

2026 Repress

Keni Burke's signature hit 'Risin' To The Top' gets an official remastered, reissue alongside the 12 inch mix of his '81 killer jam 'You're The Best'.

'Risin' To The Top' quickly became a clear favourite of the soul crowd back in the '80s, with Keni's sensuous vocals, a timeless bassline of epic proportions and those dreamy, sunshine chords proving a winning combination. Since then countless producers, from the likes of Doug E Fresh and Slum Village, to LL Cool J and Mary J Blige, have utilised 'Risin' To The Top' as a choice sample for their own productions. A quick glance at this seemingly endless list, just goes to show how much of an impact this record ended up having.

On the flip, 'You're The Best', takes a more boogie paved path, filled with an undeniably groove laden bass synth, cosmic keys and Keni's infectiously soulful vocals. It's early eighties synth boogie at it's best, placing the electronic elements at the forefront whilst holding onto that unquestionable funk at its core.

Two Keni Burke classics for soul heads, sample spotters and anyone with a keen ear for a gem.

In 2024, Audrey Powne emerged as a compelling new voice in contemporary jazz with the release of her acclaimed debut album From the Fire; a self-produced and self-composed work celebrated for its lush string arrangements, soaring trumpet performances, and emotionally rich songwriting. Now, two years later, Powne returns with Bodies of Water, a bold and deeply introspective follow-up that continues her elemental exploration: from fire to water. An exploration of what it means to exist alongside others in an increasingly unstable world, Bodies of Water reflects on vulnerability, responsibility, and human interconnectedness. The album’s title and conceptual foundation were inspired by a passage from Caleb Azumah Nelson’s novel Small Worlds: “...to make himself a body, like water, a still surface, but beneath this, a ripple, and beneath this, an ebbing tide, and beneath that, a violent, constant tow…” Throughout the record, lyrics ruminate on the idea that like all bodies of water, we are vulnerable to disruption and catastrophe. Unlike inanimate bodies of water, however, we are conscious participants in both the damage and the repair. That tension between what we are made of and what we are responsible for became a grounding and harmonious thought. This album is a meditation on that idea, both in my personal life and in a broader, collective sense. Swollen, Broken Record, and Karma, reflect on moments of cruelty and error including her own that felt unbearable. Viewing them instead as forces moving through the landscape of a life, violent but temporary to survive their immediate impact. More socially conscious tracks Stay Awake, Creeds, RYV, and Two Sides confront frustration with political polarisation and the emptiness of language unaccompanied by action. The title and final track Bodies of Water brings these ideas together, reimagining both personal and societal upheaval as events shaped by bodies of water moving through the world destructive at times, transformative at others, and always in motion. Blending traditional jazz with Afrobeat rhythms, Dilla-inspired grooves, ambient textures, and expansive arrangements, Bodies of Water reveals the breadth of Powne’s artistic vision. The record moves fluidly between spiritual jazz, warped soul and rhythm-driven experimentation, while layered interludes and meticulous production thread its disparate influences into a unified and immersive sonic world.

After regular appearances at Berghain since his debut two years ago, Altinbas now presents his contribution to Ostgut Ton, tying together five tracks that outline an expedition through celestial bodies in ‘Beyond the Veil’. Deepening his research on intricately crafted ambiance, the EP strikes a balance between commanding rhythm and blossoming synth work that reaffirm his inimitable style. ‘Beyond the Veil’ is a conceptual collaboration between an artist and a room; describing the dancefloor as an organism and the architecture of its surroundings.

Over the years, harmony has become synonymous with the Belgian artist’s sound. Deeply tuned and cohesive, Altinbas’s productions walk the boundary between insistent anticipation and unparalleled warmth. Although dancefloor effect remains a central theme for him, ‘Beyond the Veil’ is the latest chapter in a long study of obscurity in music that qualifies almost as ritualistic. Tracks like ‘Beyond the Veil’ and ‘Charming the Cosmic Snake’create tension in the keys that resonates like an expedition into new soundscapes. With weight and stability in the percussion, airy textures and hypnotic synth lines roll off the rhythm to mesmerize the listener. Sculpting his arrangements around the development of rich, dubby and atmospheric tones, Altinbas capitalises on the natural flow of his elements to provide an organic touch to tracks that are tuned especially for high pressure sound systems. ‘Entanglement’ and ‘Winter’ are both examples of this : soulful techno that ebbs and flows with each transition. Dimension is pushed dramatically into each of the five pieces of the EP as a direct response to the current climate of tool oriented techno. Keeping a safe distance from this approach, Altinbas invites listeners to explore the shape of his sound in an embrace rather than submit to its abrasion. The project concludes with ‘Antichamber’ - the fifth track of the EP that announces a departure from strict club codes. Dampening the rhythm from a pulse to a sway, a dreamlike landscape rises from deep within the record, smoothing over any of the rougher residuals from the preceding tracks. The descent that is ‘Antichamber’ is the result of an accumulated euphoria, gently guiding the listener back to consciousness.

‘Beyond the Veil’ represents a checkpoint for Altinbas in his research of moving a dancefloor not only physically, but emotionally. Carving out his own space in dancefloor-oriented music, he offers highly expressive compositions in defiance of the status quo. Altinbas offers this EP as a personal statement of where he stands; five tracks of carefully tended tone and harmonic glow create an emotional urgency for the collective experience.

For over 11 years, Nowadays Records has been shaping the French electronic music scene with boundless energy and total artistic freedom. Much more than a label, Nowadays is a big musical family where every release, meeting and event becomes a real celebration. With over a hundred albums and nearly a thousand titles to its credit, Nowadays Records embodies musical diversity across a variety of genres: abstract hip-hop, house, electronica and alternative pop.



It's in this festive spirit that the Club Nowadays project is born, a true embodiment of the collective's vision. Through its club compilations and evenings featuring label artists and outside guests.



Today, the label continues to chart its course with the release of Club Nowadays Vol. 6, a new opus in its series of compilations, which fully embodies its vision of club music. This sixth volume brings together emblematic figures of the label and emerging artists around the following dance tracks.



Don't Lie, the first single from the compilation, is a heartfelt track born of a broken heart, but turned towards the light. Mira Ló composed this track as an act of resilience, following a break-up in love. She transforms her pain into positive energy, hoping that everyone can recognize themselves in it and find a little sweetness to soothe their own grief.



R1D1 brings together his groovy house and garage influences to create the track Marsupilami around a hand-crafted synth, sharp drums and deep bass. Influenced by hip-hop beatmaking, he incorporates vocals from radio and interviews, transformed into rhythmic elements. The name, a nod to the famous character, comes naturally through the sampled “houba houba”. Between offbeat textures and assertive groove, the track embodies R1D1's singular, hybrid universe.



OOGO & Blanka, two pioneers of the label, offer us Phô Real, a hybrid track between soulful deep house and hip-hop groove, mixing organic and digital textures. A track to get the dancefloor moving, with a delicious nod to La Fine Équipe's culinary universe.



With Tracksuit & Loafers, Yambow creates a bridge between groovy French Touch elegance and the effervescent energy of UK house, in the tradition of producers like Salute and Oppidan. The track is conceived like an acid cocktail: funky, euphoric and dancefloor-friendly. The title is a nod to cultural contrasts - between English tracksuits and French loafers - which translate into a musical interplay between sophistication and fervor.



Finally, Laaanky, the Parisian producer, breaks codes and gives free rein to his passion for raw sound, efficiency and groove on the track Bloom. Between textured house, dub echoes and Afro-tinged post-dubstep rhythms, he explores a danceable, minimalist and percussive electronica. Less is more.

“An amazing new project…” Tony Minvielle, Jazz FM

“A lush, heatwave-friendly piece of dancefloor innovation…” Clash Magazine


First Word Records is delighted to bring you the debut EP from Ships of the Pharaohs.


Ships of the Pharaohs are a London-based collective led by producer Last Nubian, who’s had releases in his own right on labels like CoOp Presents, Eglo Records & Touching Bass. Blending jazz, soul, bossa nova, d&b and house-influenced grooves, the band also consists of vocalist Achanté, keys player Goldbar & bassist, Dougan.

The 7-track EP kicks off with the high-energy, vitamin D-saturated lead single ‘Sun is Rising’, featuring the guest vocals of brilliant Berlin-based singer Red Bird, who appears on three tracks on this project (‘For You’ and ‘Seasons’). ‘Can’t Quit’ follows on a smooth soulful house/bruk tempo, and invites in the thought-provoking spoken word prose of AKEEM. ‘Seasons’, ‘For You’ and recent single ‘Joys’ add another element to the band’s eclectic take on fusion, leaning heavily into the bossa side of the quartet’s influences. The latter track sees Achanté’s soulful harmonies gracefully float across a warm bed of keys, percussion, guitar picks & synth strings. We take a short jazzy breather on the ‘Interlude’ cut, featuring the resplendent sax of multi-talented Norwegian artist, Bror Havnes, who also features on the outro cut ‘One’ - this one seeing the crew ride out with a sonic salute to jungle/d&b, closing this first opus from the group with the energy levels remaining high.

Tre Wright (aka Last Nubian) explains “Our debut EP is a reflection of who we are, both individually and as a collective. Drawing inspiration from jazz, jungle, bossa nova, house, r&b and the music that's shaped us, we've explored our own interpretation of these sounds and how they come together in a way that feels true to us. It gave us the space to experiment without boundaries, trust our instincts, and create something that genuinely reflects where we are creatively right now.”


Originally conceived to perform Last Nubian material live for a Touching Bass showcase at We Out Here festival in 2023, the project soon took on a life of its own, as the group effort unleashed a unique chemistry & sound of its own merit. Thereafter followed numerous sessions in a studio-converted bedroom of a Brixton flat, developing this new sound. The finishing touches were taken care of at the infamous Total Refreshment Centre in North London, resulting in the formation of captivating new original material, which appears across this first extended release.

Ships of the Pharaohs have additionally performed live across London at Brick Lane Jazz Festival, House of KOKO, Jazz on Wick Festival, Peckham Levels, 91 Living Room & GROW in Hackney. Developing their powerful stage presence has gone hand in hand with the creation of their own material.

The initial singles from this project received praise & support from a variety of DJs, press outlets & tastemakers from the worlds of jazz, soul and clubland, including Shy One (NTS), Tony Minvielle (Jazz FM), Rohan Rakhit (Worldwide FM), Somewhere Soul & Clash Magazine to name a few.


With sonics somewhat reminiscent of Acid Jazz legends Incognito, merged with the class of Nuyorican Soul, and the dynamic fluidity of 4Hero, the 4-piece have cooked up a set of style & flavours uniquely their own, fresh for modern dances, incorporating organic improvisation with more contemporary club sounds.

The Ships of the Pharaohs are about to set sail for what is sure to be an exciting journey ahead.

‘Part 1’ will be released on 12” vinyl & all digital platforms on September 18th 2026.

"Emergence of Shadow" (Mint Condition Records / Self Distribuzione)—the new album by Davide
Ghidoni, produced by Gianluca Pighi—is arriving: its digital release is set for Friday, September 11,
while the vinyl will be available starting Friday, September 18.
A trumpeter with a career marked by international collaborations, Ghidoni here signs his most
personal project to date. It is a predominantly instrumental record in which the trumpet becomes a
voice, a narrative, and an emotion. The only vocal track is "Come On Closer," performed by Heidi
Vogel (The Cinematic Orchestra), creating a moment of suspension and intensity within the project.
Davide Ghidoni’s passion for music and the trumpet was born in his childhood around the age of ten,
fueled also by Western films and Ennio Morricone’s soundtracks: those melodies, where the trumpet
played a central role in the duels of The Good, the Bad and the Ugly, deeply shaped the artist's
imagination and sound.
Ghidoni has always maintained an open and curious approach, letting himself be inspired by different
genres, artists, and musical cultures. His projects naturally coexist with influences ranging from rock
to soul, jazz to blues, and other languages that have left a mark on his path. Rather than identifying
with a single genre, he prefers to view music as a guiding thread capable of uniting different styles
through emotion, sensitivity, and respect for artistic identity.
"Emergence of Shadow" represents a new chapter in his journey. After numerous collaborations with
various artists, the musician felt the urge to undertake a completely his own project, giving shape to
ideas he had nurtured for a long time.
The record is inspired by the 1970s soul, rock, and blues sounds, but the goal is not to faithfully
reproduce or imitate those genres: the atmospheres, themes, and arrangements recall that sonic
world, yet are reinterpreted through a personal and original sensibility. The trumpet remains the
primary narrative element, supported by meticulous arrangements and a solid rhythm section that
enhance its character and expressive intensity.
Alongside the sounds that distinguish his path, the album also explores deeper emotional
dimensions. Some tracks are fluid and atmospheric, born from the desire to recount vibrations
without rigid schemes, letting melodies and dynamics guide the listener on an inner journey. The aim
is to offer an engaging listening experience in which music communicates directly, beyond words.
The album encapsulates everything Davide Ghidoni wanted to express and fully represents his
artistic identity: a timeless instrument to communicate emotions and engage in dialogue with different
musical traditions, always keeping the pursuit of musical quality and sharing with the public at its
core.

Released in 1976 on ABC Records, Seed Of Memory is Terry Reid's fourth studio album and marks a significant shift in his musical direction - This 180g vinyl re-issue faithfully replicates the original UK pressing including 4- page lyric insert Produced by Graham Nash, the album was recorded in California after Reid had relocated from Britain, and reflects the influence of the West Coast singer-songwriter scene while retaining elements of rock, blues, folk and soul. All eight songs were written by Reid, whose expressive vocals and guitar work remain central throughout. The recordings are enhanced by contributions from respected musicians including David Lindley on guitar and violin, Ben Keith and Al Perkins on pedal steel, and Graham Nash on harmony vocals. Lyrically, the album explores themes of reflection, spirituality, personal growth and social awareness, with songs such as "Brave Awakening" drawing on Reid's family connections to the mining industry. The relaxed arrangements contrast with the heavier sound of some of his earlier recordings, creating a more atmospheric and melodic style.

The wait is over, Return To The 37th Chamber is El Michels Affair's highly anticipated follow up to 2009's underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA's signature sound is stronger & sharper than ever. This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6 generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it's own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, John Carpenter' synths, heavy metal guitars, triumpha0nt horns, and traditional Chinese instruments that make up for the lack of the Wu's superlative vocals. From start to finish it's a dark trip that walks the line between RZA's timeless hip-hop aesthetic and the cinematic soul EMA has become known for. El Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol Dirty Bastard's Snakes, Raekwon's Verbal Intercourse, and Shaolin Brew, Wu-Tang's contribution to the St. Ide's Hip Hop endorsement campaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on Snakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man's hit, All I Need, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the rug that ties the room together,' giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers. From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, sounding out the city' that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in it's own right.

Well where do you go from the killer release of sde 78 Kinky Foxx "Is It Still Good To You" which sold out quicker than we could have imagined. I guess you should expect that with a group that has a cult status like Kinky Foxx.

Trawling through the guys demo sessions of the late 1970's and early1980's we always had a soft spot for "Lovely Night" but felt the audio and vocals were not quite on point for an official release. But not letting any obstacles get in our soulful way we took the demo and made it ten times better. New vocals were added by Vincent Lilly jr and with the watchful production skills of legendary Curtis Styles we are so pleased with the outcome. Its a modern day dancer but keeping in line with the 1980's boogie funk from the Kinky Foxx crew!!. Flip the 45 over and you get "Call You Up" again which has been touched up like a classic car with a respray. Keeping all the elements of 1980's synth boogie soul and taking it into 2026.

Just featured on BBC6 Music in the CRAIG CHARLES FUNK & SOUL as part of the ODDBALL CREATIVES “Trunk of Funk Mix “ on Saturday 1st August - and already gaining great DJ feedback from the likes of Greg Caz, Laurent Garnier, Chris Bangs, Rocky, Chico Malo, Starla Recordings and many more ….

Another new collaboration on the Echo Labs label - the subsidiary of Echo Chamber Recordings set up to release tracks and remixes from other artists.

This one is a very special hook-up with Daniel Walls & Joseph Malik in Edinburgh with their new project under their “Oddball Creatives” production monicker. It was truly an honour that they reached out to Echo Chamber Recordings to bring this out on a vinyl 45 , fitting in perfectly with the foundation sounds of the label - combining classic timeless funk, jazz , Latin and soul with 21st Century production techniques

They have recruited the vocal talents of Philadelphia’s Kameela Waheed and the instrumental skills of Scottish jazz legend Colin Steele , to bring us the sound of the summer with a huge soul-jazz-funk cut. It combines elements of a classic early 70s groove with a subtle, up-to-date style, built around Joseph’s vocals and Kameela’s spoken rap.

On the flip you get the purely instrumental take - meaning you could extend the hypnotic groove even longer with two copies !

As ever, on Echo Labs there will be just 300 vinyl copies pressed for worldwide distribution

Eine junge, innovative Sängerin und Songschreiberin sorgt ab sofort auf dem Verve Label für einen mitreißenden Mix aus Soul, brasilianischer Jazz-Fusion, Funk, Mexican Bolero und House-Einflüssen. Die in Chicago
lebende Sparklmami eröffnet ihr Debütalbum mit den Worten “You’re listening to Sparklmami radio“, und
zieht sofort hinein in eine Welt jenseits klarer Genregrenzen. Nach den digitalen Singles “running“ und
„fajas“ (2024) wird hier erstmals die ganze Tiefe ihrer künstlerischen Vision hörbar.
Sparklmami versteht ihre Musik als Gesamtkunstwerk, erschafft ein eigenes Universum geprägt von markantem Styling. Die visuellen Elemente spiegeln sich auch musikalisch wider: “in this body“ lebt von einer
brodelnden Rhythmusgruppe, vielschichtigen Keyboard-Arrangements, warmen Bläsern und einer Stimme,
die mühelos zwischen Gesang und Spoken Word wechselt.
Sparklmamis Texte folgen diesem Prinzip: Themen wie Identität, Herkunft und Selbstfindung werden nicht
erklärt, sondern erfahrbar gemacht. Gerade darin liegt die besondere Kraft dieses Albums – verletzlich,
eigenständig und mit einer künstlerischen Handschrift, die Aufmerksamkeit verdient.

Dutch producer Kid Sublime presents his first EP on Makin’ Moves, here he teams up with Philly singer/song writer Lady Alma exploring elements of soul, broken beat and house.

The EP kicks off with The Grind a super smooth soulful house track, that catches your attention straight away with its groovy baseline that remains throughout adding to that Alma’s meaningful lyrics demonstrating the power of the music as she uses it as to get herself through the day.
The positivity continues on ‘Can You Feel It’ another quality piece of soulful house as the action moves to the dance floor as the beat and grove winds you in as once again Alma’s lyrics drop perfectly on the track.
The B side shows Kid switch it up on the broken beat production wiith ‘Ready To Meet You’ a touching song about two individuals excited to meet each other for the first time, a sure shot hit for the ‘bruk’ beat and dance heads alike!

GEMINI, a new band formed around Shigetoshi Otake (cro-magnon), creates a unique instrumental jazz-funk sound that fuses diverse musical elements such as 70s jazz and soul, the beat/groove sensibility of hip-hop and beyond, the dynamism of South American music, the essence of smoky reggae/dub, and the thrill of improvisation/jam sessions. Their 1st full album "zed" is being released as a limited edition vinyl by Jazzy Sport.

A new masterpiece has been born, imbued with an exquisite, evergreen, and freshly exciting contemporary jazz-funk sound, created through the interplay of a dynamic rhythm section that incorporates improvisation while centering on a post-hip-hop beat/groove sensibility, and rich performances featuring solos on electric piano, saxophone/flute, and guitar.

While the sterile “professionalism” of some heavy bands can be like a clinical drone strike, Texas-based Judiciary feels personal. Like close combat with a knife. And it’s all in their chemistry. Judiciary is an amalgamation of four guys raised in the intersection of metal and hardcore—all devoted to pushing their craft further. Across two esteemed LPs, the band has proven their worth as a crucial entity in the crowded heavy music scene by evolving their sound further and further with each release. And now with the band’s latest Stalagmite Angels, due on September 4th via the venerable Closed Casket Activities, Judiciary can further showcase their status as a crucial, one-of-a-kind part of the evolution of hardcore in 2026. Life changes can bring about chaos and seismic shifts, but if Stalagmite Angels is any indication, then it’s all for the better. In the wake of the release of Judiciary’s second LP Flesh + Blood, the band called upon Juan Vazquez to pick up guitar duties, thereby changing the internal framework of the band for good, and unknowingly for the better. It’s this pivot in personnel that resulted in the band’s latest EP. “The goal with this EP was a hard reset, but we also wanted to chill the f— out a bit, have fun, and do something that felt true to the four of us,” recalls drummer Austin Looney. “We wanted time to reconfigure things and let the music come naturally–temper this new mindset that we've adopted post-Flesh + Blood.” Judiciary’s greatest strength lies in their musical singularity. Though Stalagmite Angels represents the collision of influences from across well-worn territories like metallic hardcore, death metal, black metal, d-beat and more, it’s the Lubbock-born band’s approach that makes it distinctly their own. Stalagmite Angels is a wholly new document that resembles a horde of bands ranging from Hatebreed to Carcass to Slayer to Iron Age, yet never aping any single band nor even revealing any single influence. It’s all familiar but none of it is specific. “90s hardcore and hardcore in general is always gonna be our natural inclination, but it manifests with different elements not only from song to song but within each song,” says vocalist Jake Collinson emphatically, who learned guitar specifically to help with writing new material. “Whether that’s Dying Breed or Cannibal Corpse or Crowbar or Machine Head or any number of other influences that any one of us may have, it all manifests in our work, and through our individual and collective lenses. With this EP, we transformed those ideas into the Judiciary approach.” Stalagmite Angels is an EP about anger at the world, belief in yourself, and how harnessing both in the pursuit of growth is necessary to achieve. But furthermore, it’s a concept record that envisions a subterranean world in both a literal and metaphorical sense—where hidden beauty lurks in the shadows (and in the eye of the beholder) and where triumph manifests in the ability to rise from the depths and into the world above.

Joaquin ‘Joe’ Claussell returns to the Spring Revisited project, and he delivers another jazz-infused house mix of a classic funk track by the iconic Fatback Band. Spring Revisited is collaborative project between Ace Records and Acid Jazz, inviting influential house music producers to reinterpret classic tracks from seminal New York label Spring Records, a pioneer in funk, soul and disco. After a series of sell-out and chart-topping 12” and 7” releases, as well as a 2LP compilation, the project continues with these two new mixes of the Fatback Band’s ‘(Do The) Spanish Hustle)’. Claussell combines the original classic funk elements with Latino percussion and samba-styled trumpets.

First up is his 'Sacred Rhythm Version’, which lifts the tempo and loops a section of the original's percussion. Keeping the trumpets, and soulful vocal phrases, he adds a DJ-friendly kick drum and shows off his improvisation skills with a vibrant synth line. On the flip, he strips back some of the drums and horns and focuses on the bassline with the 'Spanish Harlem Dub,' which is a moody rework utilising some funk-infused organ chords. On the original track Joe says: "I can vividly recall the very first time I heard Spanish Hustle blasting through my brother Jackie’s stereo system. Not long afterward, I experienced its energy again on the dance floor at a discotheque known as The Inferno, where it was masterfully delivered by the legendary René Hewitt. The record left an imprint on my spirit that never faded.’ A spectacular continuation of the series, presented in the nowsignature Spring Revisited housebag, resembling an original worn-in promotional 12”, pressed in a strictly limited run!

Formed in 1969, Soul Media set out with a clear mission to fuse jazz and rock. That approach took a decisive next step with In The Groove, recorded in 1973. Here, the sharpness of jazz is brought to the forefront, rock elements are dissolved and refined to give a cutting edge, and funk is injected to add drive, elasticity, and physical force. The result is a body of music that transcends existing genre labels—jazz-rock, jazz-funk, or fusion—and stands instead as something simply, undeniably cool: strong yet sophisticated.

This album is often described as Soul Media’s response to The Crusaders, a band that saxophonist Jiro Inagaki was paying close attention to at the time. The aim hit its mark. With In The Groove, Soul Media acquired a “refined black feeling”, setting them firmly on the path toward their ultimate destination: Funky Stuff.

Formed in 1969, Soul Media set out with a clear mission to fuse jazz and rock. That approach took a decisive next step with In The Groove, recorded in 1973. Here, the sharpness of jazz is brought to the forefront, rock elements are dissolved and refined to give a cutting edge, and funk is injected to add drive, elasticity, and physical force. The result is a body of music that transcends existing genre labels—jazz-rock, jazz-funk, or fusion—and stands instead as something simply, undeniably cool: strong yet sophisticated.

This album is often described as Soul Media’s response to The Crusaders, a band that saxophonist Jiro Inagaki was paying close attention to at the time. The aim hit its mark. With In The Groove, Soul Media acquired a “refined black feeling”, setting them firmly on the path toward their ultimate destination: Funky Stuff.

Son Volt’s latest album, Sound Signal Serenades, will be released as a Record Store Day exclusive. Featuring twelve originals, Son Volt return to the elemental strengths that have long defined their sound—restless guitars, melodic clarity, and songs rooted in the lived experience of American landscapes. Anchored by Jay Farrar’s steady, unvarnished voice, the record balances reflection and resolve, drawing lines between personal memory and the wider currents of history, change, and endurance. The songs move fluidly between stripped-down intimacy and full-band drive, blending folk-rock, country, and electric grit with the confidence of a band that knows exactly who they are. There’s a sense of forward motion throughout the album—never nostalgic for its own sake, but deeply aware of where it’s been. Lyrically, Farrar explores themes of connection, resilience, and place, finding meaning in both the ordinary and the unsettled. This album stands as another chapter in Son Volt’s enduring catalog: honest, grounded, and quietly powerful, reaffirming their role as one of America’s most consistent and thoughtful rock bands.

Chicago native Ed Nine delivers another slice of that unmistakable Windy City sound on Four Framed Music. Born and raised in Chicago, his music draws directly from the city’s soulful house roots, raw, authentic, and built to move floors.

No Boundaries EP captures exactly that balance, classic influences with a sharp, modern edge. No gimmicks, just pure Chicago energy across four club-ready cuts.

The A-side hits hard. H2O rolls deep with heavy drums and an emotive vocal that cuts through the groove, while The Boundary locks into a tight, driving rhythm that doesn’t let go.

Flip it over and The Rhythm keeps things flowing, built around a swinging, soulful groove with jazzy key elements. Closing track Ecstatic lifts the mood, layering warm musical elements into a satisfying, feel-good finale.

Four tracks, straight to the floor, Chicago doing what it does best.

The neo-soul movement of the late 1990s, which fused classic soul sounds with contemporary elements, heralded the arrival of some of the greatest R&B recordings of the decade. Albums like Lauryn Hill's The Miseducation Of Lauryn Hill, D'Angelo's Brown Sugar, and Maxwell's Urban Hang Suite were all born of this trend, while artists such as Mos Def, The Roots, and Common whole-heartedly embraced the sound, creating some of their most timeless material in the process. These are some of neo-soul's great successes, but a slew of underground acts were what set the initial blueprint for their more pop-friendly acquaintances to follow. Acts such as R&B duo Groove Theory. The New York pair, consisting of singer/songwriter Amel Larrieux, and producer Bryce Wilson, (A veteran of the legendary 80s electronic group Mantronix) helped set the tone for neo-soul via their lone studio release, the self-titled Groove Theory. The nearly hour-long record features 14 tracks of Wilson's smooth soul arrangements and atmospherics merged with golden era boom-bap beats, and Larrieux's siren-quality vocals, inspired equally by a combination of Native Tongues, peak Marvin Gaye, Joan Armatrading, Soul II Soul, as well as elements of breakbeat, jazz fusion, and even trip hop. It's a definitive, but often overlooked classic of the 1990s, which helped expand contemporary R&B's sound, render Billboard hits out the tracks "Tell Me", "Keep Tryin'", and "Baby Luv", and even found the time for a Todd Rundgren cover. On the cusp of Groove Theory's 25th anniversary, Get On Down is proud to bring you this vinyl reissue of an underrated 90s gem. The original record has never been re-released on wax since its 1995 debut, but is now presented here with fully remastered audio, and bundled in a full-color insert sleeve with complete lyrics and liner notes.

Originally released in June 2009, The Ecstatic stands as a defining artistic statement from Mos Def (now known as yasiin bey) — a richly textured return to form that reaffirmed his status as one of hip-hop’s most adventurous and intellectually engaged voices. Arriving a decade after his celebrated debut Black on Both Sides, the album was widely regarded as his strongest work in years, earning near-universal praise for its lyrical breadth, eclectic production, and thematic ambition.

Musically, The Ecstatic weaves a global sonic tapestry shaped by an array of forward-thinking producers including Madlib, J Dilla, Oh No, Preservation, Mr. Flash, Chad Hugo (of The Neptunes), and Georgia Anne Muldrow. The resulting soundscape is both rooted in hip-hop tradition and unbound by genre, integrating elements of jazz, soul, Middle-Eastern inflection, and experimental sample work. Tracks like “Supermagic” and “Twilite Speedball” establish a vibrant, restless energy that mirrors the album’s expansive creative scope.

Lyrically, yasiin bey traverses personal, political, and philosophical terrain with characteristic incisiveness, confronting social inequality, Western imperialism, and questions of cultural identity with poetic urgency. Embracing risk and complexity rather than nostalgia, The Ecstatic remains a mature, deeply felt body of work whose ambition, depth, and enduring resonance have solidified its place as a standout entry in Mos Def’s catalog and in modern hip-hop history.

Aus dem Keller eines mittlerweile stillgelegten Verstecks einer Motorradgang in Dayton, Ohio, kommt STONE COAL WHITE! Ultra-primitiver und ultra-roher Funk mit klassischen Ohio-Funky-Soul-Elementen. Die A-Seite - ,Hell Below", ein Cover des Curtis-Mayfield-Klassikers - ähnelt eher der ,East Of Underground"-Version, mit einem rasanten Tempo und treibender Wah-Gitarre. Einordnung: Unhinged Funk. Die B-Seite, ,Free", die zuvor 1971 als 45er auf dem Privatlabel Ewing erhältlich war, ist buchstäblich unvorstellbar selten. Dank unserer Freunde bei der Numero Group ist dieser zweiseitige Knaller nun zu einem günstigen Preis erhältlich _ solange der Vorrat reicht.

Aus dem Keller eines mittlerweile stillgelegten Verstecks einer Motorradgang in Dayton, Ohio, kommt STONE COAL WHITE! Ultra-primitiver und ultra-roher Funk mit klassischen Ohio-Funky-Soul-Elementen. Die A-Seite - ,Hell Below", ein Cover des Curtis-Mayfield-Klassikers - ähnelt eher der ,East Of Underground"-Version, mit einem rasanten Tempo und treibender Wah-Gitarre. Einordnung: Unhinged Funk. Die B-Seite, ,Free", die zuvor 1971 als 45er auf dem Privatlabel Ewing erhältlich war, ist buchstäblich unvorstellbar selten. Dank unserer Freunde bei der Numero Group ist dieser zweiseitige Knaller nun zu einem günstigen Preis erhältlich _ solange der Vorrat reicht.

,The Ecstatic", das ursprünglich im Juni 2009 erschien, gilt als wegweisendes künstlerisches Statement von Mos Def (heute bekannt als Yasiin Bey) - ein facettenreiches Comeback, das seinen Status als eine der abenteuerlustigsten und intellektuell engagiertesten Stimmen des Hip-Hop bekräftigte. Das Album erschien ein Jahrzehnt nach seinem gefeierten Debüt ,Black on Both Sides" und wurde weithin als sein stärkstes Werk seit Jahren angesehen; es erntete nahezu einhelliges Lob für seine lyrische Bandbreite, die vielseitige Produktion und den thematischen Anspruch. Musikalisch webt ,The Ecstatic" einen globalen Klangteppich, der von einer Reihe zukunftsweisender Produzenten geprägt ist, darunter Madlib, J Dilla, Oh No, Preservation, Mr. Flash, Chad Hugo (von The Neptunes) und Georgia Anne Muldrow. Die daraus entstehende Klanglandschaft ist sowohl in der Hip-Hop-Tradition verwurzelt als auch genreübergreifend und integriert Elemente aus Jazz, Soul, nahöstlichen Einflüssen und experimenteller Sample-Arbeit. Tracks wie ,Supermagic" und ,Twilite Speedball" strahlen eine lebendige, rastlose Energie aus, die den weitreichenden kreativen Spielraum des Albums widerspiegelt. Textlich durchstreift yasiin bey mit seiner charakteristischen Schärfe persönliche, politische und philosophische Themen und setzt sich mit poetischer Dringlichkeit mit sozialer Ungleichheit, westlichem Imperialismus und Fragen der kulturellen Identität auseinander. The Ecstatic setzt eher auf Risiko und Komplexität als auf Nostalgie und bleibt ein ausgereiftes, tief empfundenes Werk, dessen Ehrgeiz, Tiefe und anhaltende Resonanz seinen Platz als herausragender Eintrag im Werk von Mos Def und in der modernen Hip-Hop-Geschichte gefestigt haben.

Terence Fixmer Reimagines Chris Liebing & Luke Slater's 'Double Split' for CLR. Fixmer's remixes of Liebing/Slater's collaboration from the former's 'Evolver' LP release on 31st July.

Terence Fixmer has delivered two remixes of Chris Liebing and Luke Slater's 'Double Split' track, one of a handful of collaborations on Liebing's first-ever solo LP, 'Evolver', which was released in March this year. Having contributed to the LP as a member of The Alte Stuben Modular Ensemble, a super-group featuring Liebing, Daniel Miller, and Pascal Gabriel, Fixmer is a fitting choice to remix 'Double Split'.

Fixmer has been evolving his sound for more than 25 years. From deep and mind-bending to experimental and soulful, he is a visionary who has been hugely prolific, with many standout LPs and EPs on labels such as Mute Records, Novamute, Ostgut Ton, and Planete Rouge Records.

Fixmer's first 'Double Split' remix is inspired by the energy of the original, but focused on dubbier, hypnotic vibes. Strident drums and clattering percussion are stark by design, but smoky vocals and eerie synths hang in the air, bringing a bleak human futurism over all-consuming bass. Then comes the Melting Mind rework, which is boiled down to a handful of key elements, not least the original's penetrating acid line. It's an immersive, late-night dive that locks you in a state of constant motion and unrelenting pressure. The original from Chris Liebing and Luke Slater, a dark and futuristic roller with automated drums and layers of rusty synths encircled by acidic gurgles, completes the package.

For WOLFEP088, we’re welcoming an Italian stallion to the WOLF stable. DJ Soch is a renowned DJ, producer, and label owner whose roots in house music run deep. Beginning his journey behind the decks in the mid-1980s, he has spent more than four decades honing a sound shaped by house, techno, disco, funk, hip-hop, and the timeless influence of Detroit and Chicago. As the founder of Black Angus Records and a resident DJ at the renowned Italian club Serendipity, he has shared lineups with some of the best to ever do it, helping to shape Italy’s underground electronic music scene.

When his tracks hit the WOLF inbox, we knew we were onto something special. The first one we heard, ‘Let Me Tell You’, was an instant yes, must sign moment. There’s skippy drums, warm keys, church organ, a heavy bassline and a pleading, soulful male vocal. One of those tracks that should come with a neck-brace. Soulful, but powerful. There’s also a ‘Power Mix’ version that keeps all the elements we loved, but strips back the vocal and ramps up the church organ. Absolute Holy Ghoster! This is the type of track that would have torn up the dance floor at the Shelter, a real Timmy Regisford tops-off jam.

On the flip, there’s a hypnotic deep house groove entitled, ‘Chewing Gum’. This is proper stuff, heads-down, deep house for the dance floor. We’ve paired it with a remix from Prince Palmer, one of the standout remixers of recent years, and a great group of guys. The Prince has delivered a reinterpretation that gives a nod to 90s US Garage, complete with all the trademark production chops you would expect from a regular on the stellar Bobby Donny label. It’s a track that wouldn’t sound out of place on a peak-period Strictly Rhythm 12”, so that’s all you need to know.

Four belters, all on one record, designed for maximum listening pleasure.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

Big Crown Records freut sich, Glera zu präsentieren, Marco Beneventos Debütalbum auf dem Label. Marco Benevento hat sich schon immer wie jemand bewegt, der das Studio als eigenes Instrument begreift - nicht bloß als Raum, in dem das Spielzeug herumsteht. Lange bevor er auf Bühnen mit Freddie Gibbs und Madlib auftauchte oder in den Liner Notes von Alben von Clairo und Leon Bridges erwähnt wurde, dachte Benevento bereits wie ein Produzent: Er hörte auf Texturen, Spannungen und Negativräume - und auf jene seltsame emotionale Alchemie, die entsteht, wenn Groove und Neugier aufeinandertreffen. Sein neues Album Glera schärft diesen Instinkt und rückt Benevento nicht nur als virtuosen Keyboarder und Bandleader ins Licht, sondern als Komponisten, der aus Rhythmus, Klang und Gefühl ganze Welten formt.Glera ist ein genreübergreifendes Jazzalbum, das Soul und das elastische Low-End des Reggae mit einem offenen Sinn für Möglichkeiten verbindet. Das Projekt begann vor drei Jahren als eine Art privates Experiment: Benevento schrieb intuitiv, inspiriert von italienischen Filmmusiken und Melodien. Mit der Zeit entwickelten sich diese Skizzen zu etwas Größerem und Kraftvollerem - und mündeten schließlich in die hier zu hörende majestätische Ausformung.Entstanden ist Musik mit filmischer Bewegung, ohne dabei kostbar oder überladen zu wirken. Die Stücke fühlen sich mal wie Verfolgungsjagden, mal wie langsame Überblendungen an - manchmal sogar innerhalb desselben Songs. Jazz-Improvisation teilt sich den Raum mit Reggae-Grooves, orchestralen Elementen und einer psychedelischen Pop-Atmosphäre. Explorativ, aber geerdet; komplex, doch stets klar groove-orientiert.Der Album-Opener ,Frizzante" ist eine reine musikalische Feier - ein energiegeladener Feel-Good-Banger, auf Band gebannt, in dem Marco über einem unnachgiebigen Groove Melodien mit sich selbst austauscht. Auf ,Turandot" wird Benevento von Italiens Marianne Mirage am Gesang begleitet; der düstere, cineastische Track bewegt sich mühelos zwischen den Welten von Portishead und Serge Gainsbourg.Mit ,Big Top" erweitert sich die klangliche Palette noch weiter: ausgestattet mit Sprachaufnahmen und Pfauengeräuschen lässt sich der Song am treffendsten als ,Zirkus-Funk" beschreiben. Ein Pfiff - und das Spiel beginnt mit ,Houdini", einem jazz-fusionhaften Dancefloor-Füller, der vom ersten Schlagzeugschlag an die Tür eintritt. Auf ,I Can't Control This Bliss" mischt Benevento Dream Pop unter und bittet Dream Crease ans Mikrofon - für eine Dosis lo-fi-getränkter Schönheit. Elizabeth Steiner steuert ihre renommierte Harfenarbeit zu ,Miss Neptune" bei, getragen von einem tief vibrierenden, reggae-inspirierten Fundament.Mit Vollgas prescht ,Sprezzatura" wie eine Hochgeschwindigkeitsverfolgung durch enge Straßen, während ,Quattro Passi" das Tempo drosselt und zum entspannten Schlendern einlädt - mit Jazzsängerin Chiara Civello als Feature.Marco Benevento agiert hier auf höchstem Niveau, formt Klang mit Zielstrebigkeit und Neugier. Dieses Album kündigt sich laut an - zugleich nach außen gerichtet und zutiefst intim. Es ist Musik in Bewegung: zwischen Genres, Tempi und Registern, stets verankert in der Freude am Entdecken. Ein Album, das Bewegung verkörpert, die Vergangenheit mitnimmt und doch niemals stehen bleibt.

DJ NOTOYA, who was among the first in Japan to spotlight Japanese music and gained international attention with his mix CD “Tokyo 1980s”—which became an
instant classic upon release. Now, his compilation “Tokyo 1980s Victor Edition,” which focuses on Victor Records’catalog and showcases his deep understanding of
the essence of 1980s Japanese music—blending elements of disco, boogie, and modern soul—is finally being reissued as a long-awaited color vinyl edition!

This release features a carefully curated selection of gems—tracks that received high praise internationally in previous digital releases—specially compiled for vinyl.
Notably, Reiko Takahashi’s “Sunset Road” is included on vinyl for the first time, a long-awaited treat for fans as the original 7-inch is now extremely hard to find.
This must-have collection for fans of Japanese music and city pop is now complete, featuring cover artwork by Hiroshi Nagai. It’s the definitive album, perfect for
everything from club nights to casual listening!

Two supreme House Grooves from the world renowned “Maestro” of the dancefloor in the continuing build-up to the Louie Vega “Expansions In The NYC” album release. With “Another Day In My Life” Louie Vega incorporates elements of the classic jam “Never Had A Love So Good” by Charles Johnson (fully cleared and licensed from the legendary Henry Stone Music Company), and creates a driving and infectious soul-infused club anthem that ruled the DJ download platforms prior to its vinyl release. On the AA side, Louie works with his long time collaborator Axel Tosca as well as legendary Chicago DJ / Vocalist Mike Dunn to create his own very soulful and New York flavored interpretation of the renowned 1999 Deep Burnt song by Pepe Bradock, done of course with Pepe Bradocks blessings and appreciation.

Off the back of an epic 3 part triple album “Sidequests”, Session Victim kept the collaborators in tow with “The Disconnect” EP, featuring the talents of Kenneth Scott, Rossano Snel, and Quarion across 5 tracks. It’s the Empire Strikes Back of Rhythm Section EPs – following up from widely acclaimed and best seller “Basic Instinct”. Balancing funk elements of breakbeats, bass guitar, rhodes and mellow synths with finessed modern production, the duo have assembled another masterclass in precise yet characterful house music.

The record begins with “Hey, Activate!”, oozing funk, ambient pads, a groove bassline and optimal arpeggiated synth noodling sets the tone for the whole EP. “Dream Theory” is quite it’s namesake, with a distant sax solo, tremolo sine motifs and a sumptuous lick combining piano and the Session Victim trademark bass guitar.

B-side opener “Flotsam” comes through with smooth breaks and incidental style sampling harking back to the vibes of Herbert, with slow filtered chord groove referencing the vibes of early French Touch masterminds Cassius.

Progressing into more relaxed territory, still ideal for dancefloor moments: “Open Minds” is indebted to old soul jams with bongos, muted guitars and rhodes followed by “Loom”, using similar elements with a vibe akin to early Bonobo.

This EP is testament to Session Victim’s mastery of housemusic, being their 40th EP and standing firm in a crowded scene. Their consistent application of production precision is carried by an emotional heart of gold that you can hear in every record they make. Not to be missed.

Cymbals' landmark 1998 debut album That's Entertainment finally returns on vinyl.
This masterpiece blends Asako Toki's crystalline vocals with Reiji Okii's refined melodies, featuring signature tracks like “Show Business,” “Rain Song,”
and “RALLY.” A defining album for Japan's stylish pop scene, it effortlessly incorporates elements of 60s pop, neo-acoustic, and soul.
It stands as both Cymbals' origin and a crucial work in 90s J-POP.

Odysee’s vinyl release schedule for 2026 kicks off with this superb 3-track E.P. from none other than the labels founder, T-Mirage. Following up from his 2024 release Dark Rhodes, this E.P. is an embodiment of the raw Mirage sound; a melting pot of Atmospheric D&B with hard hitting dance-floor sensibilities, where 70's OST & Film Noire sounds are blended with deep Techno and electronica elements.

From the blistering amens and deep textures of 'Expressive Thoughts', to the dreamy atmosphere of 'Dawnbreaker' and the dystopian menace of the breakbeat-driven 'Machines Of London', this E.P. is an absolute must for all true Odysee fans!

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

Odysee’s vinyl release schedule for 2026 kicks off with this superb 3-track E.P. from none other than the labels founder, T-Mirage. Following up from his 2024 release Dark Rhodes, this E.P. is an embodiment of the raw Mirage sound; a melting pot of Atmospheric D&B with hard hitting dance-floor sensibilities, where 70's OST & Film Noire sounds are blended with deep Techno and electronica elements.

From the blistering amens and deep textures of 'Expressive Thoughts', to the dreamy atmosphere of 'Dawnbreaker' and the dystopian menace of the breakbeat-driven 'Machines Of London', this E.P. is an absolute must for all true Odysee fans!

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

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

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

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

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

Incl. Pryda, Dexter Connection, Superfunk feat. Ron Carroll, Dave Swayze, Chris Bangs feat. Rita Campbell, Hyper Pearl, Daniel Bovie & Roy Rox, The Disco Freaks, The Mackenzie feat. Jessy



Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 9

A1) Pryda - Allein (Original Release 2012)

Pryda, the legendary alter ego of Eric Prydz, has earned iconic status in the electronic music scene with his refined productions and epic tracks. Under this name, he has released several hits that have stood the test of time, including Allein. This track is a progressive house masterpiece built around a sample from Polarkreis 18's Allein Allein and is infused with the characteristic Pryda sound: grand, hypnotic, and emotionally powerful.

With its timeless and universal appeal, Pryda - Allein has captivated fans worldwide. The track is an absolute floor-filler that forms a highlight in any DJ set. Notably, this iconic track has never had a vinyl release, making this edition extra special for both collectors and lovers of true electronic music history.

A2) Dexter Connection - Baby Be Mine (Original Release 2003)

Released in 2003, this delightful groover samples Michael Jackson's Baby Be Mine and Brothers Johnson's Stomp. The track combines funky basslines with a tight, rhythmic groove that immediately invites dancing. The nostalgic vibes from the classic samples provide a familiar sound, while the modern production gives it a fresh, contemporary twist. Ideal for DJ sets where you want to get the crowd in the right mood.

A3) Superfunk feat. Ron Carroll - Lucky Star (Original Release 2000)

This track needs little introduction. Released in 2000, with soulful vocals from Ron Carroll, it quickly became an iconic hit within the house scene. Lucky Star was the breakthrough single of Superfunk, a French house group,and sold over 500,000 copies worldwide. The track reached number 42 on the UK Singles Chart and has since become a staple in house and dance sets.

With its funky basslines, catchy melody, and infectious groove, it's a perfect mix of disco, house, and soul. The track includes a sample from Chris Rea's Josephine, adding to the recognizable and nostalgic vibe. Lucky Star became not only a floor-filler but also an anthem of the French house movement, alongside acts like Daft Punk and Cassius who dominated the world in the same period.

B1) Dave Swayze - Goldwave (24K) (Original Release 1996)

This 1996 trance classic needs little introduction. Goldwave is a timeless track that continues to resonate with trance lovers, thanks to the unique combination of dreamy synths, hypnotic rhythms, and epic build-up. The track is a true ear-candy and touches anyone who hears it. Originally released in 1996 on Belgium's DiKi Records, it quickly became a classic in clubs like La Bush, Illusion, La Rocca, and many more.

To this day, Goldwave is still played in the sets of many DJs, and remains a favorite at retro trance events. The track has stood the test of time and remains a key track for fans of old-school trance. It's a piece of electronic music history that makes people dream on the dancefloor with its dreamy Goldwave.

B2) Chris Bangs feat. Rita Campbell - Warm Weather (Ibiza BeachBall Vocal Mix) (Original Release 2000)

Warm Weather by Chris Bangs feat. Rita Campbell is a summery, uplifting track that perfectly evokes the atmosphere of Ibiza. The song blends house and trance with the infectious vocals of Rita Campbell, creating a warm, relaxed vibe. The Ibiza BeachBall Vocal Mix adds a touch of Balearic energy, with a calm rhythm and melodies that immediately remind you of sunny beaches and carefree days. Originally released in 2000 on the UK label INCredible, it remains a hidden gem for many trance lovers.

C1) Hyper Pearl - Can You Feel The Pain (Up & Vox Version) (Original Release 1995)

This 1995 trance classic made a lot of noise in clubs like Illusion, La Bush, Lagoa, and At the Villa. Pure old-school trance with emotion and drive like only that era could produce. A fantastic track, produced by Carl Drake, Matt Spinner, and Zzino, originally released on Belgium's Aquatic label.

C2) Daniel Bovie & Roy Rox - Stop Playing With My Mind (Dub) (Original Release 2008)

Daniel Bovie (aka Danny Van Wouwe) is a versatile producer with dozens of tracks to his name, many of which are considered classics. This track is no exception. Originally released on the legendary Strictly Rhythm label, co-produced with Dutch producer Roy "Van Luffelen" Rox, this track quickly became a floor-filler and charted in Belgium and the Netherlands. The vocals wereprovided by the talented Nelson.

D1) The Disco Freaks - Make My Dreams Reality (Chord Memory Mix) (Original Release 1997)

Originally released on an EP by The Disco Freaks, the alter ego of producers Bart Grinaert and Lajos Meszaros. This mix, which is much stronger than the original, quickly became a club classic and was played extensively in clubs like Illusion, Carat, and Extreme. A delightful, groovy, and uplifting track that combines disco elements with house. The Chord Memory Mix adds a nostalgic touch by using warm chords, funky basslines, and uplifting percussion.

D2) The Mackenzie feat. Jessy - I Am Free (Marino Stephano Club Mix) (Original Release 1997)

I Am Free by The Mackenzie needs little introduction and is a must in every DJ and vinyl lover's collection. This mix, often played at our parties, is something special. The man behind many legendary trance classics, Marino Stephano (RIP), hasreworked this version in his unmistakable way. The remix has an energetic and captivating vibe, with deep, hypnotic beats and floating synths. A beautiful track in its original version, it continues to fascinate.

ProleteR returns with a warm and playful blend of swing and nu jazz.
The first single, “Things of the Past,” introduces the album with a smooth fusion of neo-soul and sampling, enhanced by subtle swing elements. “Do It” (focus track) leans into a more vibrant electro-swing energy, featuring Lyre le Temps, a major figure in the global electro-swing scene.
The worldwide tour kicks off in the US this May and August, before heading to Europe in September (20 shows) alongside Blockhead and Arms & Sleepers.