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7", Transparent Royal Blue Vinyl
The track ‘Atrium’ was born during the Dream 3 sessions, on a day where it was just Claire and I in the studio. It wasn’t rehearsed at all before we started recording it. All I really had was the main guitar riff in drop D, inspired by the Rob Crow stylings of Heavy Vegetable and Thingy. The lyrics came quickly and received almost no editing. They circled around feelings of resentment, heartbreak and the idea that a sturdy love for oneself is necessary before you can truly love others. This release includes 2 B Sides from GOON’s critically acclaimed Dream 3 LP available on 7” vinyl for the first time.

2026 Repress

How better to solidify over a year of meteoric rise than with the release of a debut EP? dublon is both the phenomenon of the moment and one of the most promising prospects for a lasting career in the electronic scene. The Norwegian producer has teamed up with top-tier musicians (saxophonists, pianists) to blend organic craftsmanship with his incredible electronic touch. He has also collaborated with respected and renowned artists like Tour-Maubourg, TABLE, and the incredible American singer Deza to bring this project to life.



The result is Nectar, an EP that balances touching elegance with an insatiable urge to dance to its uplifting rhythms. dublon and his Jazz-House sound are set to keep us moving all year long.

A selection of the main sountracks of Naruto - one of the best known Anime in the world. Including the opening theme "Haruka Kanata".

In the village of Konoha lives Naruto, a young boy who is hated and feared by the villagers because he has Kyuubi (Nine-tailed fox demon) of incredible strength inside him, which has killed many people. The most powerful ninja of Konoha at that time, the fourth Hokage, Minato Namikaze, managed to seal this demon in Naruto's body.

Loaded with tension and anchored by bold textural and stylistic contrasts, Sam Slater’s third solo full-length finds the British sound artist, composer, and engineer grappling with his creative contradictions head-on.

Having spent a life time in bands and producing records, Sam transitioned somewhat by accident through his work with Johan Johansson into working as a composer on high profile projects such as his collaboration with Hildur Guðnadóttir on the Grammy Award-winning Joker and Chernobyl, and with Pulitzer Prize-winning journalist Mstyslav Chernov on the soundtrack to the lauded 2000 Meters to Andriivka. Having a vast set of interests and influences is an asset when helping realise a directors vision for a soundtrack, but one's own musical voice can end up being constrained. In Lunng, Slater has gone back to his wildly divergent range of influences and rather than shy away from the extremes, he's used them to create a singular vision.

Take the opening track “Heatsick”: Slater imagines an extravagant fusion of 2000s drone metal and vintage British brass, welding ear-splitting overdriven drones and blown-out choral vocals to stirring trombone swells from veteran player Hilary Jeffery. On paper, it’s hard to imagine—but Slater’s intentionality conducts these polarizing elements into a surreal blur of sonic extremes, with the guitars’ relative harshness softened by Jeffery’s eerily nostalgic colliery echoes.

His last solo album, I do not wish to be known as a Vandal (Bedroom Community, 2022), showcased this breadth by assembling a team of collaborators including Sam Dunscombe and Yair Elazar Glotman. On this record he’s linking up with acclaimed multi-instrumentalist Maria W. Horn, idiosyncratic sax virtuoso Bendik Giske, versatile percussionist Adam Betts, and the aforementioned Jeffery, Slater ushers these players toward a lattice of calculated confutations.

Working to explore the tension between the divergent practices of his collaborators—Lunng was meant to be challenging. On “Praya”, Giske’s familiar overblown horn phrases are almost vaporized, vanishing among Slater’s weightless synths and Horn’s chillingly hoarse vocals. There are traces of Horn’s Funeral Folk project, but Slater shifts the emphasis, letting her voice brush past the other elements like a hallucination.

Slater’s use of extremes isn’t just in the micro; dynamics drive the album’s overall flow. “Praya” sets the stage for the record’s heaviest, most prickly moment: “Passengers”. Here, Horn’s voice cracks, rasps, and gurgles over serrated synths and Betts’ ritualistic drums. Slater turns an industrial symphony into a folk opera—dark, dramatic, and strangely beautiful—etched with Giske’s fluttering phrases.

But the mood soon shifts. Slater careens toward chaos, unleashing double-time rhythms and piercing textures familiar to anyone with a soft spot for classic black metal. These grotesque incongruities are deliberate; Slater surveys years of musical conflict and leans in, using dissent as fuel to build kinetic energy.

The weight of sentimentality bears down on “Black Metal Rewind (Night Drive Astra, 2006)”, melting teenage memories into hypnagogic ambience—shoegaze dreams whirled with angelic choral delusions. On “Death by Nostalgia, 1688”, he ventures further into polarizing territory, distorting AutoTuned voices with cryptic strings and medieval tonalities, unsettling any stable sense of past or present.

In this record Slater focuses on pure energy, color, and mood. Lunng distills years of listening into a bracing brew—boiling each sound down to its essence, then serving it with unflinching intent.

John Twells, 2025

Following the overwhelming response to the Warner remix series produced by Joe Claussell, with copies disappearing in hours-another Stella remix package steps forward. This is not part of the Edits & Overdubs series. No loops. No shortcuts. Like the previous release, Ashford & Simpson’s “Stay Free” was rebuilt straight from the original 48-track 2-inch multitrack tapes, resulting in two fully realized remix versions designed for the floor. The A-side delivers a 14+ minute deep, extended journey-patient, evolving, and powerful, injecting new life while honoring the soul of the original. The B-side flips the script with an Alternate Instrumental, stripped back and ready for late-night moments. Cut, tested, and refined on dance floors worldwide over several years, these versions have already proven their weight in real club settings. Pressed on green vinyl, housed in a heavy Japanese-style cardboard sleeve, and accompanied by a Warner-style disco promo one-sheet and bumper sticker-a nod to the golden era of 12” promos.

Limited to 300 copies. Similar to the Deodato Whistle Bump 12” - No repress. No extras.

When I first started Future Retro London, primarily as a club night, the first event was meant to take place in April 2020, but due to the coronavirus pandemic, the date got pushed to June 2020 in the hopes that venues in the UK would have re-opened by that time. They very much were not re-opened by then and navigating the various lockdown periods that occurred meant the first event didn't actually happen until December 2021.

Dead Man's Chest was part of the original lineup intended for the first event but by the time it was actually able to happen, he had temporarily relocated to Portugal & it meant he wasn't able to make it for it. Various attempts were made afterwards to try & include him in events I was doing but nothing came together until I finally had him play the 2nd joint event I did with Distant Planet in December 2024.

He runs a label called Western Lore which I've featured on previously, with 2 different remixes I did of Plastic Face by Response & Pliskin, as well as a track featured on the first Blunted Breaks compilation. It only made sense to eventually work on a joint label project as his label is a key figure in the current wave of jungle music, plus I hadn't put any music from him on Future Retro London yet so now I can finally tick him off the list!

Big up to Dead Man's Chest for his work on the collaborations & for his involvement in making this release a reality.

2xLP gatefold jacket (recorded in Side A, B, C, and no music recorded in back side of Side D)

Soundtracks including the scores used in the film, including the main theme “The Promise of the World” sung by Chieko Baisho who is a voice actress of the main character, Sophie.

Marie Davidson Returns with Club-Ready 12” ‘City Of Clowns (MDJ Tools)’ — Featuring Soulwax Dubs on DEEWEE

Utilising their inimitable remixing style, Soulwax pump up and strip back Davidson’s ‘Push Me Fuckhead’ and ‘Sexy Clown’ for maximum dancefloor effect. The release also includes an electrifying contemporary version of 'Sexy Clown,' co-produced in the studio with Pierre Guerineau and tailored for Davidson’s acclaimed 2025 live performances.

This latest release follows Davidson’s 2025 album, a record that saw her expand her artistic language through a fusion of 90s Detroit techno grit, fired-up circuitboard breakbeats and skewed club minimalism. As with much of her work, the album used music as a means to navigate her place in the world — as an artist, as a woman, and as an entertainer. Conceptual yet emotionally raw, Davidson continues to push the boundaries of electronic music, creating work that is both deeply cerebral and disarmingly human.

With both Soulwax and Marie, sharing a commitment to bold, physical sound and restless reinvention, ‘City Of Clowns (MDJ Tools)’ stands as a natural meeting point — a late-night dialogue between two of modern electronic music’s most distinctive voices.

‘City Of Clowns (MDJ Tools)’ will be released digitally on October 31, with vinyl following early December.

Remixer extraordinaire Eric Kupper takes a set of epic, lost recordings from 1982, that feature the cream of the crop session musicians behind the soulful sound of Philadelphia - Earl Young (Drums), Ronnie Baker (Bass), Norman Harris (Guitar), Lenny Pakula (Organ), Larry Washington (Percussion), Vince Montana, Jr (Vibes, Keyboards), John Bonnie (Saxophone) - along with powerhouse vocalists Joe Freeman, David Simmons, Bobby Love and Ron Tyson, and lovingly applies his own modern sheen, spinning them into ear candy for today’s listener as well as those who were there from the very beginning. These incredible remixes, which have individually been topping the charts on Traxsource, can now be had in one place - this exclusive 3-LP vinyl collection that is not just a tribute to the past, but a vibrant continuation of the legacy these legendary musicians helped create.

ANiML comprises accomplished and storied electronic artists. Their Stratasonic label has become a respected home for their freeform musical explorations, with no genre restrictions. They often call on friends and influential pioneers to collaborate on releases, and the originals they produce are defined by improvisation, creative songwriting, and intentional collisions of different moods and grooves.

'Unioness' is a tender but crisp late-night sound. Soft, jazzy melodies drift over orchestral swells with drum breaks cascading below. Abstracted vocals and serene strings further enrich this sophisticated sound, which draws on soundtracks and instrumental soul groups.

Stoned Autopilot is an alias of long-time studio magician Martin Buttrich, who is also part of Better Lost Than Stupid and has a fulsome catalogue on many of the scene's most recognisable labels. His dub rides smooth waves with aching vocals melting into the mix, and the melodies looped, smudged, and smeared in hypnotic fashion.

The second rework comes from DJ Sneak, the hugely prolific and consistent Chicago house innovator whose famously raw, tracky sound keeps him in a class of one. His fantastic Big Bawse Re-Rub brings a rolling four-four groove, a delicate sprinkling of percussion, and a loopy rhythm that locks you in and zones you out as curious melodies unfurl up top.

When percussionist, pianist and vibe player Ricardo Marrero recorded the ultra-rare Latin jazz meets funk LP “A Taste” in 1976, little did he know that decades later that sealed copies of the original album would exchange hands among collectors for thousands of dollars. A veteran of the New York salsa and Latin jazz scene since the mid-1970s, Marrero has worked with luminaries such as The Fania All-Stars, Pete “El Conde” Rodriguez, The 5 Stairsteps, Dave Valentin, Angela Bofill and most recently - Ruben Blades. Full of up-tempo funky gems and sizzling slow burners, “A Taste” also includes Marrero’s crossover hit “Babalonia” that received quite a bit of airplay in the mid-1970s. Originally pressed in a very limited quantity on Don King and Lloyd Price’s TSG Records, and with little or no promotion, “A Taste” nevertheless pushed the boundaries of New York City salsa forward and has subsequently become one of the rarest, sought after and expensive records the vinyl world has ever seen. Suffice it to say that the music on this obscure jewel is priceless, featuring some of the greatest players of the era, directed by the great maestro Marrero on keyboards, percussion, vibraphone and vocals with the legendary Dave Valentin (flute, percussion, coro), Ralphy De Jesus (bongos, percussion, quinto), Erasto Bernard (congas), Tito Marrero (drums, timbales, percussion), George Oldziey (flugelhorn, trumpet), Nancy O’Neil (lead vocals, coro), John “Figgy” Figueroa (tenor saxophone, soprano saxophone, baritone saxophone), Sean Mahony (trombone) and John Dearth (trumpet). A taste of Ricardo Marrero & The Group is one that’s sure to satisfy.

- Debut album by percussionist, Pianist, Vibraphonist and two time Grammy Award winner
- Rare 1970 melange of Latin Jayy, Soul, Funk and Salsa from New York City
- Features legendary flutist Dave Valentin

The strongest Japanese covers of Grover Washington Jr. and Kool & the Gang's representative songs are now available on 7-inch vinyl for the first time!

Side A, "Ja Ashita Ni Sureba?" is a cover of Grover Washington Jr.'s famous soul/R&B song "Just the Two of Us," released in 1980. The song depicts the human weakness of putting off troublesome tasks, with lyrics that play on the ears, and an arrangement that retains the atmosphere of the original song while still being danceable, making it a superb track. Side B features a cover of the legendary funk band Kool & the Gang's 1981 hit "Get Down On It," titled "Netanone." This powerful double-sided single will have you intoxicated by the gap between the cool, danceable sound and the humorous lyrics!

In conjunction with the 2025 re-pressing of the Nora Guthrie "Emily's Illness/Home Before Dark" 7-inch single, we have here, in the same format, a lovely cover of the latter tune, performed by Eddie Marcon, a band based in Himeji, Japan. The band's vocalist Eddie Corman and musician/producer Shintaro Sakamoto wrote the Japanese lyrics for this gorgeous version, recorded in 2024 and originally unintended for public release; however, this slice of sweetness, delivered by the full band comprising guitar, keyboards, bass, percussion and wistful winds is now available to the lucky listener. The flipside, recorded in 2025, is an intriguingly ghostly recomposed version for cello and flute by TORSO, a Tokyo instrumental duo, who used the basic tracks from the Eddie Marcon version of "Home Before Dark" as a 'guide' before finally deleting the basic tracks.

Powerfull nice grooves from a series that might be beer named: "Acid folk renaissance " – as most of the work here come from the 70s, and a lot from those great years of the UK and US scene where it also seemed like there was plenty of folk in the music as well! A few of these cuts are downright acid , and all are filled with great instrumenta&on – in an approach that's a nice change from some of the more familiar Brit and US manners of the same genera&on. The &tles include, among the others: Nirvana’s Nova Sketch , Fi.y Foot Hose’s Rose, Pyranha ‘s Clepsydre , Kaleidoscope’s Keep your mind open, and more .

Infinite Salutations is a game of two halves from Coflo and Emmaculate, where free wheeling jazzy expression meet club ready grooves. Salutations feat. QVLN is a guitar led winner with sweet vocal touches and layered percussion. Infinite is more of a dancefloor bumper with cool keys, bass delving and barbed synths. The Bay Area's Coflo is a mainstay on the label, having chalked up a range of hits from the deeper If It Goes to his magical cover of Love's Masquerade. Illinois' Emmaculate touches down on Cataleya for the first time, fresh from his release on G.A.M.M. with DJ Spen, production work for Ten City and remixes for the likes of Incognito. With Infinite Salutations, Coflo and Emmaculate provide a fantastic start to 2026 for Cataleya.

2026 Repress

Since its inception in 2016, Cornucopia has been a musical project synonymous with creativity and depth. The name itself, rooted in ancient mythology, symbolizes abundance and prosperity. Today, it evokes the same spirit- a metaphorical horn overflowing with ideas and innovation. This ethos emerges in the latest release, the fifth offering from the new label run by Guy J.

The music is a testament to artistic richness and a celebration of sonic exploration.
The release opens with Remember Me, a mellow yet groove-infused track tailor-made for sunset moments by the sea. Built on hypnotic layers, it evolves into an atmospheric journey that blends joy, subtle ecstasy, and vibrant energy. In an age of musical hyperproduction, Remember Me is a reason alone to celebrate Cornucopia's return. Yet,it is only the beginning; the unexpected euphoria unfolds as the release progresses.

Seasoned partygoers often categorize tracks by their vibe-some are designed for the night, while others are for the early hours. The title track, Early Morning, is an ode to the latter, crafted to accompany the most dedicated dancers as they greet the dawn. Driven by uplifting arpeggios, the track radiates unfiltered positivity, eliciting smiles and a deep connection among those on the dance floor. Already road-tested in DJ sets, this euphoric anthem has been hailed as a secret weapon of underground music, delivering pure joy with every beat.

Released by the Early Morning label, it is a fitting finale to this remarkable collection. With its undeniable potential to become a future classic, Cornucopia's latest offering is an experience that lingers long after the final note.

Focusing on bringing people some fresh air from the island that we produced with its own unique character. Our artists provide an escape to somewhere full of energy to drag you back from the so-called chaotic world. There are plenty of spaces, it’s a sharing for everyone!

As you may know, Koh is a word in Thai that means ‘island’. We want to represent the sound of our characterized island and tell the story through it. For this collection, we want to present the island under the ground which represents the different perspective of life reflecting our music scene in reality.

We gave the word “Clockmaker” as a hint to the artists.
It’s a simple, even mundane concept—something easily overlooked and not immediately eye-catching. It also suggests waiting, as it often takes time for people to return to the shop. But time itself holds meaning, and the clockmaker always has something hidden beneath the surface.

With that in mind, “The Photo Sticker Machine” and “Chucheewa” present their first original track: “Galactic Love.”

Alongside it are five vibrant remixes by artists we deeply admire—from Mogwaa (Korea) and Retromigration (Germany) to three incredible talents from Thailand’s local scene: Kova O’ Sarin, Chalo, and Saranmy.

From time to time Fortunea Records gives us the chance to highlight and welcome new faces. And this one is Petals In Sound!

Louise Baldwin is a UK-based producer and DJ. After over a decade of living, working and partying in South East London, she relocated to Crosby in Liverpool. Following a number of years experimenting with music production, she finally found her groove during the 2020 Covid lockdown. In October 2020, she released under her moniker the well-received debut EP 'Palace’ on Boyanza Records, gaining support from the likes of NTS Radio and the Sloth Boogie Radio Show. Many releases on labels such as Closer To Truth, Dirt Crew and Inhale Exhale followed.

Louise playfully attacks the fabric of deep house, pushing and pulling the genre into modern territory with clever and precise production techniques. And now she will release her first vinyl record on the Austrian imprint. The ‚Days‘ EP includes 4 original tracks and a remix by the Vienna-based dj and producer Dzc.. Hypnotic rhythms and well crafted deepness defines this record.

Petals In Sound’s ‚Days’ EP will come out on december 19th. All tracks have been mastered by Patrick Pulsinger. The vinyl is limited to 200 copies and there will be no repress!

Junun is the debut collaborative album by composer Shye Ben Tzur, Radiohead guitarist Jonny Greenwood, and the Indian ensemble the Rajasthan Express. Originally released in November 2015, the album was recorded in a makeshift studio within the 15th-century Mehrangarh Fort in Jodhpur, India. Radiohead's longtime producer Nigel Godrich worked on the album, creating a 2LP/CD release. World Circuit is set to reissue Junun on 16th January 2026, marking the album's 10th anniversary. This special edition will be available as a 2LP Gatefold Yellow & Orange Marble vinyl and a CD digisleeve. The album features Ben Tzur's compositions, which incorporate devotional Sufi qawwal musicians singing in Urdu and Hebrew. Greenwood contributed guitar, bass, keyboards, ondes Martenot, and programming, aiming to use chords sparingly and instead focusing on North Indian ragas. The recording process sought to capture the ""roughness"" of Indian music, avoiding the high fidelity often found in world music recordings. The making of Junun was also documented by acclaimed filmmaker Paul Thomas Anderson, offering an intimate look at the creative process and vibrant daily life during the album’s production. His film, also titled Junun, debuted at the New York Film Festival in October 2015. Junun (an alternate spelling of ""junoon,"" meaning ""mania"" or ""the madness of love"") received widespread critical acclaim—including Album of the Year honors from The Sunday Times, who called it “one of the most inspired releases of the year” and “intriguing, sinuous, and essential listening”. The group also supported Radiohead's 2018 Moon Shaped Pool tour, performing under the name Junun.

Since the turn of this century, perhaps no other modern composition has had a more resonant healing effect than The Disintegration Loops. Composer William Basinski’s deteriorating analog tape loops evolved from melodic symphonies to melancholic silence over a span of time that uncannily turned passing minutes into pensive lifetimes. In her foreword for the new box set reissue of The Disintegration Loops, the pioneering multimedia storyteller Laurie Anderson describes the impact of this transformation in poetic detail: “These dissolving sounds, this emptying space, has gained my complete confidence. They are taking me somewhere. I am willingly following these sounds, becoming more and more transparent.”

The Disintegration Loops – Arcadia Archive Edition is an expansive new box set that includes the entire 5-hour suite of iconic work. Newly remastered from the original recordings by Josh Bonati, the hefty package includes eight vinyl records (or four CDs for the less analog-inclined) in sturdy full-color jackets featuring the restored original artwork, and a new 1000-word foreword by Laurie Anderson – all housed in a striking heavyweight, case-wrapped box. It is the ideal encapsulation of one of the 21st century’s most truly transcendent works. As Anderson concludes in her foreword, “this music has created another world, a world to be carried away in.”

Nick Holder’s Iconic ‘Dance, Dance, Dance’ Finally Arrives Digitally with New Remixes from Jason Hodges and Trackheadz.
Definitive Recordings proudly presents a long-awaited milestone: the first-ever digital release of ‘Dance, Dance, Dance’ by Nick Holder’s Fruit
Loops project, originally released in 1995 and repressed countless times on vinyl since. This timeless house anthem, a pure expression of discodriven groove, now returns remastered and refreshed — accompanied by two brand-new remixes from fellow Toronto house legends Jason
Hodges and Trackheadz.

The original version of ‘Dance, Dance, Dance’ captures the raw magic of mid-90s house — a stripped yet irresistible jam that fuses classic 70s
disco sampling with a deep, rolling bassline and a straight house groove. It’s simple, it’s soulful, and it’s pure disco-house sexiness.
Jason Hodges delivers a playful rework that modernizes the cut while keeping its soul intact. His remix adds shuffled percussion, chopped vocals,
and a subtly reworked bassline — injecting a fresh rhythmic twist that stays true to the track’s roots while enhancing its dancefloor punch.
Trackheadz then takes the track into deeper territory, layering lush synth chords, organ lines, and sweeping strings over a steady, hypnotic build
— a masterclass in musicality and atmosphere for the late-night crowd.

A true veteran of Toronto’s house scene, Nick Holder rose to international acclaim in the late ’90s and early 2000s with releases on Definitive,
NRK, Stickmen, and Studio K7, shaping the sound of deep and soulful house. As the founder of DNH Records, he’s been a driving force behind
countless underground classics, including ‘Da Sambafrique’, ‘Trying to Find Myself’, and ‘Summer Daze’.
Jason Hodges, another staple of the Toronto underground, is known for his tough yet groovy sound that bridges New York swing and Chicago
grit. Having remixed the likes of DJ Sneak, Derrick Carter, DJ Heather, and Kaskade, Hodges continues to be a name synonymous with timeless,
floor-filling house. Trackheadz, helmed by Kaje Trackheadz, brings decades of experience in blending sweet strings, soulful brass, and deep club
energy. Responsible for underground staples like ‘Our Music’ and ‘Feel’, he has remixed everyone from Todd Terry to The Sunburst Band, and
continues to expand his vision through Trackheadz Records.

Nearly three decades on, ‘Dance, Dance, Dance’ still grooves as hard as ever — now revitalized for the next generation of house lovers.

Orange Vinyl

The 10-track release, Collection Agency, is Curren$y’s first project of 2021. The album marks his 11th solo studio album, and 90th overall project. Even more impressively, the quality has remained consistent throughout his prolific career. The Louisiana rapper links up with several notable producers on the project including DJ.Fresh, Harry Fraud, Rsonist of The Heatmakerz, Trauma Tone, Purps, & Black Metaphor. We also see an appearance by longtime friend and collaborator, Larry June. At just under 24 minutes, Curren$y delivers another unforgettable round of smooth joints and cruising music.

ELECTROVISION: Tres temas icónicos de Robert Cosmic, agotados durante años, ahora remasterizados e incluidos en un vinilo. Un nuevo tema, «Door Mir», disponible en vinilo por primera vez.


ELECTROVISION: Three iconic Robert Cosmic tracks, out of print for years, now remastered and included on vinyl. A new track, «Door Mir,» available on vinyl for the first time.

Viktoria Tolstoy, celebrated for her expressive voice, emotional storytelling and cross-genre artistry, seamlessly blends jazz, pop and original songs.
Her standout tracks ‘Autumn Breeze’ (4.6M streams) and ‘Calling You’ (6.5M streams) have reached millions of listeners worldwide.
Collaborations with top Scandinavian and European jazz artists, including Nils Landgren and Esbjörn Svensson, have positioned Viktoria as one of the leading female voices in European jazz.
Jacob Karlzon, renowned Swedish pianist and composer, is recognized for his virtuosic technique, cinematic soundscapes and inventive harmonic language.
Their collaboration began in the mid-1990s, forming one of the most enduring and successful partnerships in Scandinavian jazz.
Their music bridges Nordic lyricism and modern jazz sophistication, appealing to both jazz and a wider crossover audience. A trusted name on the European scene, they continue to tour internationally and attract strong streaming and media presence.
Their new duo album reflects and renews that bond - an intimate conversation shaped by time, friendship, and change. The world has shifted since their last recording and so have they. Yet their shared musical language endures - evolving, deepening, and gathering new shades of emotion. There is a rare ease between them: two Artists who no longer need to explain, only to listen and respond.
The result is music that feels unforced, sincere and alive - born of trust and the courage to explore the unknown. In the end, it’s the simple beauty of reunion: two musicians meeting again, with everything they’ve lived and everything still to discover

Super Mazembe's "Greatest Hits," serves as a definitive collection celebrating the band's remarkable contributions to East African music. Released in 1986, this compilation features a carefully curated selection of the band's most iconic tracks, encapsulating their vibrant sound and the infectious energy that made them a household name. Highlights include fan favorites like "Shauri Yako" and "Kasongo" each track showcasing the band's skillful musicianship and unique ability to blend traditional rhythms with contemporary styles. "Greatest Hits" not only pays homage to their illustrious career but also introduces new audiences to the timeless music of Super Mazembe, solidifying their legacy as significant figures in the African music scene. This LP remains a cherished collection for both long-time fans and newcomers alike, capturing the essence of a band that defined an era and continues to inspire musicians and music lovers across generations.

British singer-songwriter Lucy Kitt unveils her highly anticipated second album, Telling Me, a deeply personal collection that shifts focus from introspection to storytelling, capturing the lives and struggles of those closest to her. Drawing from her love of 70’s Laurel Canyon folk, 90’s indie rock, and country music, Kitt crafts narratives that blend her own experiences with compassionate observations of loved ones. Based on a raw acoustic “three chords and the truth” style of songwriting that ripples throughout, the album expands with full-band arrangements that give a huge range and richness to the sound.

Though influenced by American musical traditions, the Essex-native maintains her distinctive voice and authenticity, ensuring the music remains unmistakably her own. Following her 2018 debut Stand By, this new record represents a more mature approach to songwriting, written during her early 30s and completed in the 2021 lockdown – a storybook of songs capturing that moment in time.

Musically, Telling Me showcases Kitt's stripped-down acoustic foundations, while incorporating fuller arrangements that blend her love of Nick Drake, Bob Dylan, Gram Parsons, Joni Mitchell and Joan Baez, with music she loved as a teenager such as The Lemonheads and Veruca Salt. The album features collaborations with an impressive roster of musicians, including Jay Starkey on drums, Nashville-based pedal steel virtuoso Spencer Cullum, Treetop Flyer’s Sam Beer and longtime collaborator Pat Kenneally on drums and piano.

Recorded between 2021-2023 at London's Lightship 95 studio at Trinity Buoy Wharf, the album was co-produced and engineered by Dave Holmes, with some musicians contributing remotely from Nashville and London.

Kitt's commitment to authenticity extends to every aspect of the album, from the down-to-earth, home-based album artwork which represents her life right now as a musician and a working mum, with all the wonderful chaos that comes along with it. Also her decision to maintain her natural accent throughout her vocals. "I have always retained my authentic self in my songs," she explains. "Always singing with my own accent, despite the influences of all the bands and artists over the years."

Kitt has been songwriting and performing for over 20 years, starting in a riot grrl band in her teens in her hometown of Romford, Essex, before evolving into the thoughtful folk storyteller she is today. A semi-finalist at the BBC Young Folk Awards in the early 2000s, she has performed at major festivals including Glastonbury and Cambridge Folk Festival, building a reputation for intimate, lyrically-focused performances.

Telling Me is a resplendent collection of songs, capturing the human experience with great empathy, honesty and musical sophistication that has become Lucy Kitt's signature.

Since 2018, BBE Music’s J Jazz Series of compilations and album reissues has been at the forefront in focussing attention on the hitherto cloistered and rarified world of Japanese jazz. True to the ethos of the series, curators Tony Higgins and Mike Peden have once again dug up a truly rare gem in the form of a 45 from the mysterious Christal Zone, originally released in 1971 only as a promo and reissued here for the very first time. Several years before pianist Tohru Aizawa and brothers Tetsuya and Kyoichiro Morimura formed the now-celebrated Tohru Aizawa Quartet — whose 1975 private- press spiritual jazz LP Tachibana Vol 1 has become a cornerstone of the J Jazz canon and previously reissued by BBE — they were already venturing into bold, experimental territory. Their 1971 single Rai Rai, released as a promotional 7-inch on Liberty Records under the short-lived moniker Christal Zone was written and arranged by koto player and composer Hideakira Sakurai. An almost unclassifiable hybrid of jazz, Japanese folk, Algerian raï, and free improvisation. Sakurai’s visionary approach dominates the track, blending traditional Japanese instrumentation with a dense polyrhythmic groove that evokes not only avant-garde jazz but also the raw street energy of Algerian raï — celebratory, unfiltered, and joyfully unrestrained. The story behind the recording of Rai Rai is as spontaneous as the music itself. While casually rehearsing at Sakurai’s villa, the group was overheard by producer Kunihiko Murai, who was so stunned by what he heard that he arranged a studio session for them the very next day. The resulting 7-inch — Rai Rai / Kanashiyana, released under the one-off Christal Zone name — is now one of the rarest artefacts in Japanese jazz, with original copies fetching astronomical prices among collectors. BBE Music has faithfully reproduced the original artwork and packaging to celebrate this extraordinary and super rare piece of J Jazz history. A piece that bridges the ancient and the future, Japan and North Africa, in under four minutes of controlled chaos. A truly one-of-a-kind artefact, Rai Rai is a manifesto from a generation unafraid to rip up the rulebook and follow their own path.

"Brooklyn-based pianist Eva Novoa returns with The Freedom Suite: Novoa / Carter / Mela Trio, Vol. 2 — the second radiant release from her compelling trio with saxophone icon Daniel Carter and celebrated drummer Francisco Mela. This marks Novoa’s sixth album with 577 Records. The trio first came together live in 2021, followed by a series of performances, including appearances in Cambridge (Boston) and later at the Brooklyn edition of the NY Forward Festival.
"The Freedom Suite is an homage to jazz titan Duke Ellington — particularly his masterful big band suites and legendary orchestra featuring Johnny Hodges and other luminaries who helped define an era of jazz greatness. In contrast, Novoa presents her Suite in a more intimate format: the piano trio. The album comprises twelve pieces — mostly brief — with a few extended tracks such as Free to Be Free and Cyborgs.
"For this recording, Novoa also steps in as a vocalist on several tracks, including Mainstream Media, Big Grande, Global, Free to Be Free, Dream, and Cyborgs. These pieces often feature a vocal dialogue between Novoa and Mela, whose expressive, word-infused style draws from rich Cuban traditions.
'Words are powerful,' says Novoa. 'They define who we are, where we come from, and who we hope to become. Without words, there is no conversation — and without conversation, there is no real sense of time, space, or connection.'
The Freedom Suite emerged from deep philosophical and creative conversations — spoken, written, and improvised — between Novoa, Carter, and Mela. In the studio, Novoa introduced printed texts that served as thematic foundations for spontaneous, in-the-moment musical interpretation. The result is an urgent and organic interplay, where instruments speak to one another in a language as fluid as it is fearless.
"Standout track Cyborgs begins with Novoa’s percussive piano, exemplifying the trio’s dynamic, conversational energy. Creative Destruction features Novoa on electric harpsichord in a wild, electric exchange. While Free to Be Free stands out as the album’s leading single, it also captures the essence and message of the entire Suite.
"Recorded in 2021 at New York City’s legendary Sear Sound Studio, the album captures a creative explosion of sound and spirit. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs — even whistle — showcasing her expansive sonic palette. Together, the trio embodies the power of free improvisation and emotional storytelling.
"Originally from Barcelona, Spain, Eva Novoa has been cultivating her distinctive voice since childhood. Now a staple of the New York creative music scene, she has performed across the globe and collaborated with some of the most adventurous voices in jazz and beyond."

Featuring special guests Bobby Rush, Shemekia Copeland, Ronnie Baker Brooks, and The Sons of Blues, the record reflects Billy's lifelong journey through the music he loves. "Every song on this album has special meaning to me," Billy says. "This is the most important work I've ever done - and the best work I've ever done as well." Over his remarkable 50-year career, he has earned numerous awards and accolades, including an Emmy award, three GRAMMYr nominations, and induction into the Blues Hall of Fame. His career reads like a "Who's Who" of the Blues world. Mentored by legends such as James Cotton, Junior Wells, Willie Dixon, and Big Walter Horton, Branch has built an enduring legacy both as a performer and a teacher. In addition to releasing 15 albums with his acclaimed band, The Sons of Blues, he has contributed harmonica to more than 300 recordings by artists including Koko Taylor, Willie Dixon, Eric Bibb, Johnny Winter, Taj Mahal, Keb' Mo', Son Seals, and Big Head Todd, among many others.

Takin' Off was pianist Herbie Hancock's first album under his own name. Released in 1962 by Blue Note, the album features his own compositions, including the iconic Watermelon Man, which made it to the Top 100 in the singles pop charts. The tune became a jazz standard covered by countless musician, including the great Cuban percussionist Mongo Santamaria, among others

Psyché is an eclectic project rooted in the Neapolitan music scene. Conceived in 2018, the project includes Marcello Giannini (Nu Genea Live Band, Guru, Bassolino, La Famiglia), Andrea De Fazio (Nu Genea Live Band, Parbleu, The Funkin Machine), and Paolo Petrella (Nu Genea Live Band, Fratelli Malibu). They were recently joined by Roberto Porzio (Parbleu, Fitness Forever, 24 Grana, The Funkin Machine).

"Hurriya (We Must Resist)" is a sonic bridge crossing the Mare Nostrum, connecting the shores of Naples and Tunisia.

At the heart of this fusion is the voice and soul of Tunisian musician Ziad Trabelsi, whose Arab roots intertwine with the psychedelic, Mediterranean sound of Psyché.

In this track, Afrobeat and Arabic sonorities meet to create a hypnotic journey, one where Ziad's oud weaves an evocative groove that gallops like horses in the desert.

The song carries the echo of the ancient dominations and cultural exchanges that have shaped Naples—a millennia-old crossroads of civilization—where traces of Arab and North African influences continue to resonate in its streets and, most notably, in its music.

"Hurriya"—the Arabic word for freedom—is an anthem of resistance and resilience, a dialogue between East and West that dissolves the rigid boundaries of geography and politics. It is a collective song for the freedom of all peoples, against oppression, abuse, and injustice everywhere in the world. As Psyché emphasize: "Even if life tests us severely, and we often feel like giving up in the face of injustice, we must resist. We must refuse to disappear."

The single is available digitally and physically, on January 23rd, as a 7" vinyl. The B-side of the physical release includes an exclusive, extended version of "Hurriya (We Must Resist)", available only in this format.

Focusing on their craft, staying out of the fray and
holding fast their faith to find new ways to express the
discord and delight of being alive, to turn the duality of
existence into hymns we can share, Low present ‘HEY
WHAT’.
These ten pieces - each built around their own
instantaneous, undeniable hook - are turbocharged by
the vivid textures that surround them. The ineffable,
familiar harmonies of Alan Sparhawk and Mimi Parker
break through the chaos like a life raft.
Layers of distorted sound accrete with each new verse
- building, breaking, colossal then restrained, a solemn
vow only whispered. There will be time to unravel and
attribute meaning to the music and art of these times
but the creative moment looks forward, with teeth.
‘HEY WHAT’ is Low's thirteenth full-length release in
twenty-seven years, and their third with producer BJ
Burton.
Low’s 2018 album ‘Double Negative’ was a critical and
commercial success (including 8.7 / Best New Music
at Pitchfork), introducing new noise / experimentalbased textures and pop elements to their sound and
revitalizing their fanbase.
Founded in 1993, Low are influential pioneers of
minimalist, artful indie-rock.
Low’s track ‘Congregation’ was recently featured in an
episode of FX’s Devs.

The Roots of Chicha, compiled by Barbès Records, was originally released in 2007 and became the first recording to popularize psychedelic cumbia around the world.

From the late 60's through the 80's, Peruvians invented a new popular musical hybrid inspired by music from the Americas. In 1968, Enrique Delgado released his first record on Odeon with his new group, Los Destellos, single-handedly creating Peruvian cumbia. He codified the genre early on by using the electric guitar as the primary melodic instrument, and mixing cumbia rhythms with folkloric huaynos, criollo voicings, Cuban guarachas and guajiras, rock, boogaloo, surf, psychedelia, oriental music, classical music, and bits and pieces from Brazil, France, Chile... All Peruvian cumbia bands for the next thirty years would end up drawing from the exact same sources (Grupo Celeste, Los Mirlos, Juaneco Y Su Combo, Manzanita Y Su Conjunto...).

This new wave of Peruvian cumbia came to be known as chicha. Chicha is originally the name of an alcoholic drink, made of fermented maize, which the Incas were especially fond of. In the past thirty years, however, the word has taken on a pejorative connotation. Peruvian cumbia started being called chicha in the late 70s, around the same time that the music came to be viewed as the expression of the slums – the pueblos jovenes. Little by little, the word became an adjective, and people now talk of chicha culture, chicha press, chicha architecture, even of a chicha president, and none if it – you guessed right – is meant as a compliment. Chicha suggests corruption, shady deals, and cholos – a derogatory term for a person of Andean heritage that, of late, is being reclaimed and worn as a badge of honor by the very cholos it was supposed to demean in the first place.

CULT boogie funk release from ROBBIE M & The Midnight Express Show Band of Rock Island Illinois. A PPU follower's favorite, and after many requests the 7" reissue is now available..Includes the newly remastered 1983 7" version of "Danger Zone" and Robbie M's "I Need Good Lovin" from 1989.

Ghetto Pop Life was Danger Mouse’s first full length album on Lex and a hip hop classic, harking back to the sound of the early 90s East Coast and resurrecting Brooklyn’s most soulful thug MC, Jemini The Gifted One. Incorporating a full church choir on the title track, Danger Mouse also brings in heavy hitting guest rappers J-Zone, Tha Alkaholiks, The Pharcyde and Prince Po. In the words of the NME "Ghetto Pop Life is a funk-fuelled hip hop record that virtually orders you to get down’. LEX010LPRT was originally an exclusive variant but now available to all.

Ghetto Pop Life was Danger Mouse’s first full length album on Lex and a hip hop classic, harking back to the sound of the early 90s East Coast and resurrecting Brooklyn’s most soulful thug MC, Jemini The Gifted One. Incorporating a full church choir on the title track, Danger Mouse also brings in heavy hitting guest rappers J-Zone, Tha Alkaholiks, The Pharcyde and Prince Po. In the words of the NME "Ghetto Pop Life is a funk-fuelled hip hop record that virtually orders you to get down’. LEX010LPRT was originally an exclusive variant but now available to all.

Tiger Stripes debuts on Rekids with ‘I Heard It Through the Bassline’.

Stockholm’s Tiger Stripes appears on Matt Edwards’ Rekids for the first time with the ‘I Heard It Through The Bassline’ two-tracker. The EP starts with the aptly named title track, defined by its deeply infectious bass, which propels forward along tight house grooves and classy gospel vocals. ‘I Heard It Through the Bassline’ is followed by Tiger Stripes’ ‘Everybody’s Doing It’, a stylish, low-slung people mover with the air of a vibey, dim-lit establishment or introspective late-night journey through the city.

Strange Idols label founder Tiger Stripes is a prolific producer, remixer, and DJ who has been active since the early 2000s. He’s collaborated with artists like Kerri Chandler and Jerome Sydenham and released music via heavyweight underground imprints, including Hot Creations, Get Physical, and Sydenham’s Ibadan. Now, he moves the needle again with the ‘I Heard It Through the Bassline’ EP on Rekids.

Two years after their debut on Berlin-based Mannequin Records, Parisian duo Leroy Se Meurt returns with their second full-length album, Hier Pour Toujours. Far from any sense of nostalgia, this record offers no illusion of hope—history repeats itself, the future looks bleak, and their brand of electronic punk is the perfect soundtrack to it all.Drum machines dictate the pace while synths saturate the space, looping sequences grind relentlessly, and vocals lead this machine orchestra straight into the heart of the chaos. Drawing from their roots, Leroy Se Meurt pushes their fierce electronics further than ever—experimenting with bold slogans, spoken passages, and powerful sing-along choruses.The album opens with Pas Ma Croix, a commanding anthem built for the stage. It flows into Du Plafond à La Terre, driven by a monstrous electro beat and bassline, flirting with emotional vulnerability in its chorus before exploding into a synth solo. Alevlere Karşı once again taps into the duo’s EBM-meets-Turkish vocals signature style, hitting the mark with dancefloor precision.The title track, Hier Pour Toujours, closes side A with a more intimate, drumless moment—solemn but no less intense.That brief calm is shattered by Déviance, marking the return of guitars and an eruptive chorus brimming with raw energy. From there, the album launches into the furious Révolte Ardente, with its syncopated rhythm and vocals drenched in distortion, and continues with Pro Déclin, a stripped-down rhythmic skeleton carrying anti-growth mantras straight to the point. In a world clouded by confusion, the most direct messages often land the hardest.For a change of scenery, Fütürsüz dives into John Carpenter-esque territory—no drums, eerie night-streaked synths, and, for the first time in the band’s history, nearly clean vocals.Closing the record, Encore crawls at a BPM so slow it’s nearly in reverse. But what it lacks in speed, it makes up for in weight—a crushing incantation capable of toppling sound systems.With Hier Pour Toujours, Leroy Se Meurt isn’t offering optimism, but rather persistence. Nothing is settled yet—and perhaps, just perhaps—there’s still light at the end of the tunnel.

haruka nakamura has released two new albums simultaneously.
Titled "ALL DAY" and "ALL RAY," the two albums total 16 tracks, a series of beat sounds.

"ALL DAY"
Scenery of the four seasons in the light, scenes of everyday life passing.

"ALL RAY"
A journey wandering in search of hope, a longing for light from the darkness.

It's been two years since haruka nakamura released the "Light Years" series, a four-album series spanning the four seasons, in collaboration with
THE NORTH FACE Sphere.
In the two years since, while working on films and various other projects, she has continued to create beat sounds by self-sampling melodic sketches
that suddenly pop into her mind in the course of everyday life, as her life's work.
These tracks, "ALL DAY" and "ALL RAY," will be released as a culmination of her collaboration with THE NORTH FACE Sphere, spanning two albums,
totaling 16 tracks. These songs feature even more striking melodies and beats than her previous work. While both works focus on the light of the four
seasons, they each have a different expression.
On the path to the album, eight singles will be released in advance over eight consecutive weeks.
The artwork was created by Suzuki Takahisa (16 design institute) using photographs taken by Haruka Nakamura, with a watercolor-style arrangement.
All ten jackets, including the eight singles, are decorated with beautiful, unified artwork that adds to the album's unique worldview.