Suche:the base

Common Primitives is the second collaborative album between Andy Bell (Ride guitarist, Oasis bassist) and Essex-based harp and synth duo Masal. It’s a stunning, meditative collection which veers from kosmische to astral jazz by way of Turkish folk tunes and all the way back again.


Their first outing, 2023’s acclaimed Tidal Love Numbers, consisted of four lengthy and almost ambient tracks and is included here on vinyl for the first time as part of a two-record set with the new album. By contrast, the seven tracks that make up Common Primitives are almost concise, but also a lot more layered and complex.


“We tend to work from initial, free-jammed ideas, building form and arrangement from there,” explains Masal’s Al Johnson. “Above all, we believe you should go where the vibe takes you.”


For Andy, that vibe was very much jazz legend Pharoah Sanders’ classic 1977 album Pharoah, which was reissued a few years ago.


“It puts me into a hypnotic state,” he explains. “That’s why I worked with more guitar loops on this record. The Tisziji Muñoz part on ‘Harvest Time’ has had me in a vice-like grip for the last three years and it arrives here via the Vini Reilly filter.”


For Özlem Simsek, there is nostalgia, too, and she even adds vocals as well as her heavenly harp to the opening track, ‘After Kâtibim’, based on a traditional Turkish folk song she had sung as a child growing up in Istanbul.


From there, the album takes us on a real journey, with the apt, impressionistic titles added by Andy once it had all been pieced together. There’s the beautiful, elegant ‘I Swear We Are Infinite’; the atmospheric ‘Yuzuki Fighting Spirit’ and the beatific ‘Soap And Water’. ‘Tower Of Babylon’ was named after the novelette by Ted Chiang, its structured creation reflecting that in the story; first single ‘The Morning Of The Trip’ finds Andy playing his guitar “as if it was a waterfall”. The journey ends with ‘Rudi’s Dream – The Third Bardo’, the trio accelerating onto the autobahn for a krautrock crescendo inspired by their studio’s resident cat.

Monolink and CIOZ bring a stripped-back electronic edge to Crosstown Rebels with ‘Don’t Talk To Me’. The German multi-instrumentalist makes his Crosstown Rebels debut alongside Italy’s CIOZ, with OMRI. also returning to the label on remix duties. There are few artists in electronic music quite like Monolink. Moving naturally between singer-songwriter, producer and live performer, his music gives as much weight to voice, melody and narrative as it does to electronic production. For ‘Don’t Talk To Me’, he joins Bergamo-born, Berlin-based CIOZ, whose own work is driven by rich musicality and a willingness to move beyond convention. The link-up makes for an intriguing signing to Damian Lazarus’ Crosstown Rebels, bringing together two different approaches to electronic music without either losing their identity.

‘Don’t Talk To Me’ is deliberately pared back, pairing Monolink’s voice and songwriting with sparse textures and gently shifting melodies. Rather than building towards a conventional dancefloor payoff, the track unfolds with a quieter sense of tension, sitting somewhere between alternative songwriting and electronic voyage. An artist whose productions and remixes have quickly made him a recurring presence in the Crosstown Rebels universe, OMRI. takes the track deeper with his remix, adding darker, hypnotic qualities while preserving the original’s restraint. ‘Wasting Time’ closes the release with another sweeping collaboration, built around subtle melodic details and captivating synth flourishes.

The collaboration marks Monolink’s first outing on Crosstown, adding to an impressive career that has seen him craft his distinctive sound via Berlin-based imprint Embassy One and on labels like Cercle Records. Performances have taken that music from Burning Man and Montreux Jazz Festival to Day Zero Bali, where he joined Damian Lazarus for its first edition, as well as sets alongside Lazarus at Club Space, Zamna and more around the world. Meanwhile, CIOZ brings his own expansive approach back to the label, with material also landing via Monaberry, Frau Blau and Stil vor Talent, plus remixes for Diplo, Oliver Koletzki, Patrice Bäumel and the Crosstown head honcho. With both artists comfortable moving between emotional depth and dancefloor function, ‘Don’t Talk To Me’ gives that shared instinct plenty of room to breathe.

The Chronicles of Narnia: The Voyage of the Dawn Treader is a 2010 fantasy-adventure film based on The Voyage of the Dawn Treader (1952), the third novel in C. S. Lewis’ fantasy series The Chronicles of Narnia. It is also the third and final installment in the original Chronicles of Narnia film series. Set three years after the events of Prince Caspian, the film follows the two youngest Pevensie children, Edmund and Lucy, as they return to Narnia to join the new king Caspian in his quest to rescue seven lost lords and to save Narnia from a corrupting evil that resides on a dark island.

Composer David Arnold scored the film, with themes composed by Harry Gregson-Williams (who scored the first two films). It was Arnold’s fourth collaboration with director Michael Apted. He created specific themes for the characters The Dawn Treader and Reepicheep, and used themes from the previous films for the opening and closing scenes as well as recurring characters, to ensure that the film is consistent with the franchise. The score was performed by an 87-piece orchestra and a 40-piece choir, resulting in an epic soundtrack with just the right magical touch to compliment this film.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

Come Back Down, the new album by Nashville experimental-pop duo Total Wife, was born from the edge of sleep. When composer and producer Luna Kupper would begin to fall asleep during late-night mixing sessions, the songs would follow her into the halfway place between dream and lucidity. Like Dale Cooper in Twin Peaks, she'd wake with a new perspective on the puzzle she was piecing together. "I'm a psychological mixer - I'm trying to think of how someone's experiencing the sound, versus getting stuck in trying to make all these different tones and using all this gear to make something sound a certain way," Kupper says. And like a spiral from waking life into dream, the songs on Come Back Down are endlessly self-referential, building whole universes from a single point. Kupper sold all of her synths to make rent before she started working on the album, and so every inorganic sound is instead built from samples of the band's own work. A guitar on one song may be reprocessed and used as a synth on the next, while everywhere on the album vocal samples are taken from a single unreleased cover of Elliott Smith's 'Between the Bars.' In tribute to this process, the album was almost named The Julia Set after the mathematical equation which feeds into itself again and again, creating beautiful fractal images. The intention was to create something complex but accessible; experimental, yet precise and without abstraction. In her lyrics, too, lyricist and vocalist Ash Richter is as straightforward as she's ever been. She drew on her experience of pandemic isolation to write about connection and disconnection, using her lyrics as a tool for the communication that was missing in everyday life. On the soaring, shoegazey track 'peaches,' a storm that forced the cancellation of a recording session became a metaphor for emotional distance. 'still asleep' chronicles Richter's euphoria after Total Wife's first tour, and watches it begin to curdle into paranoia. "Thank the full moon, my heart is overflowing," she sings, before: "Is there such a thing as too happy?" The experience of isolation was prompting Richter to think back to her childhood, a time marked for her by solitude and natural play - climbing trees, making mud pies, getting lost in the woods. On tracks like 'in my head' and 'second spring,' she uses the imagery of nature to recall that time and forge a connection with her lonely inner child. "I feel connected with transcendentalist writing and magical realism - trying to convey things in a concrete way, but with that element of psychology and mystery," she says. Richter and Kupper, friends from high school, formed Total Wife in 2016, relocating from Boston to Nashville in 2020. Both are visual artists as well as musicians, which they incorporate into their work with Total Wife via layered and purposeful visuals. A DIY streak underpins everything that they do - from handling their own artwork and music videos to recording their own music, releasing tapes through their label Ivy Eat Home, and hosting house shows in the basement they've christened Ryman 2. In Nashville they've settled into a weirdo scene living under the record industry's floorboards, a hive of collaborative and creative energy that has made them excited to call the city home. They also assembled a live band for the first time shortly after moving to Nashville, consisting of Ryan Bigelow, Sean Booz and Billy Campbell - injecting their creative process with a jolt of spontaneity and aliveness that has fed back into Come Back Down.

OK, so the original pressing of the Heartstopper vinyl box set sold out in 2.5 hours.... Incredible!
We're making another version available. This is basically the same version, except it's NOT numbered. Also, this pressing will be released on October 9.

Heartstopper is the critically acclaimed Netflix coming-of-age romance that has captured the hearts of millions around the world. Based on the bestselling graphic novels and webcomic by Alice Oseman, the story follows Charlie Spring and Nick Nelson as they navigate friendship, love, identity, and growing up. Praised for its authentic representation and warmth, Heartstopper has become a cultural phenomenon, earning a devoted global fanbase and widespread critical acclaim. The series comprises three seasons, which aired between 2022 and 2024, followed by a feature-length film in 2026.

An essential part of the series’ emotional impact is its music. Across the series and film, Adiescar Chase’s music beautifully underscores the characters’ journeys, capturing the excitement of first love, the uncertainty of growing up, and the quiet intimacy of everyday moments. Her compositions have become an integral part of the Heartstopper experience, adding depth and atmosphere to the story’s most memorable scenes.

In collaboration with Netflix, Music On Vinyl proudly presents the complete Heartstopper soundtrack on vinyl for the very first time. This deluxe box set brings together the original scores from all three seasons of the series and feature film across four releases, pressed on stunning marble-coloured records in blue, pink, yellow, and orange, and housed in a beautifully crafted collector’s box. The set is complemented by an 8-page booklet featuring exclusive liner notes by Alice Oseman, four A4 art cards showcasing the original artwork from each release, and a Heartstopper diary for personal use, inspired by the series. Together, these carefully curated elements make this the definitive collector’s edition, celebrating the music and legacy of Heartstopper in a truly special format.

Dina Summer is the Berlin-based collaborative project of Greek-German dark-disco couple Local Suicide and Bavarian electronic producer Kalipo. The supergroup began working together in 2019 and have since been refining their combined sound. It is a unique blend of their influences, drawing from 80s italo disco, new wave, EBM and early 00s electroclash for a dark retro-futuristic synth/wave pop sound that stands out with club-ready basslines, epic melodic hooks, and lyrics ranging from dadaist abstractions to empowering, thought-provoking themes.

The trio will return with their new mini album, “Children Of The Night”, bringing together all the elements that have defined their sound so far. From the disco infused synth pop of “Burning Heart” and “Bats In Paris,” recalling their debut album Rimini (2022), to the dark club driven tracks “Fuel”, “Komodo 3000”. and the title track “Children Of The Night,” which echo the atmosphere of Hide & Seek (2024), and the dark wave influenced indie songs “Rat Race” and “On The Road”, which would have felt right at home on “Girls Gang” (2025), the release showcases the full spectrum of the band's musical identity. The nine track record takes its title from and pays homage to Bela Lugosi's iconic line in Dracula (1931): “Listen to them. Children of the night… what music they make”.

Format: Ltd transparent clear vinyl

Dina Summer ist das in Berlin ansässige Gemeinschaftsprojekt des griechisch deutschen Dark Disco Duos Local Suicide und des bayerischen Elektronikproduzenten Kalipo. Die Supergroup begann 2019 gemeinsam zu arbeiten und hat seitdem ihren gemeinsamen Sound kontinuierlich weiterentwickelt. Dieser verbindet auf einzigartige Weise ihre Einflüsse und schöpft aus Italo Disco der 1980er Jahre, New Wave, EBM und Electroclash der frühen 2000er. Das Ergebnis ist ein dunkler, retro futuristischer Synth Wave Pop Sound, der sich durch clubtaugliche Basslines, epische melodische Hooks und Texte auszeichnet, die von dadaistischen Abstraktionen bis hin zu empowernden und zum Nachdenken anregenden Themen reichen.
Das Trio kehrt nun mit seinem neuen Mini Album „Children Of The Night“ zurück, das alle Elemente vereint, die ihren Sound bisher geprägt haben. Von dem Disco geprägten Synth Pop von „Burning Heart“ und „Bats In Paris“, der an ihr Debütalbum „Rimini“ (2022) erinnert, über die düsteren, cluborientierten Tracks „Fuel“, „Komodo 3000“ und den Titelsong „Children Of The Night“, die die Atmosphäre von „Hide & Seek“ (2024) aufgreifen, bis hin zu den von Dark Wave beeinflussten Indie Songs „Rat Race“ und „On The Road“, die ebenso gut auf „Girls Gang“ (2025) hätten erscheinen können, zeigt die Veröffentlichung die gesamte Bandbreite der musikalischen Identität der Band.
Das Album mit seinen neun Tracks trägt seinen Titel in Hommage an Bela Lugosis ikonische Zeile aus dem Film Dracula (1931): „Listen to them. Children of the night… what music they make.“

Wewantsounds is delighted to continue its Ziad Rahbani reissue program with Ana Moush Kafer, a classic album by the Lebanese legend Ziad Rahbani, recorded at his By-Pass Studio in Beirut during the height of the Lebanese Civil War in 1985. Showcasing Rahbani’s signature blend of Arabic music infused with touches of jazz-funk and bossa nova, the album has attained cult status over the years. Originally released on cassette, it has never before been available on vinyl. Newly remastered, this edition features the original Relax-In cassette artwork from 1985 and includes new liner notes by Mario Choueiry of the Institut du Monde Arabe in Paris.

Ziad Rahbani, who passed away in 2025, remains one of the most influential figures in modern Arabic music and a cultural icon in Lebanon. A musician, composer, pianist, producer and playwright, he helped modernize Arabic music over five decades. The son of composer Assi Rahbani and singer Fairuz, he shaped her late 70s–80s recordings producing Wahdon and Maarifti Feek, while building a major solo career with classics such as Abu Ali and Houdou Nisbi, which have become cult favourites for a new generation of DJs and music lovers.
Released in 1985 in Lebanon, Ana Moush Kafer stands as one of Rahbani’s key achievements. Recorded at his By-Pass Studio during the Lebanese Civil War, it blends Arabic melodic traditions with jazz-funk, bossa nova and Western arrangements. Originally cassette-only, it became one of his most revered releases. Throughout the album, Rahbani’s writing reflects the turbulence of wartime Beirut with a blend of sharp social observation, political satire and melancholy. It captures a moment in Lebanese cultural history where experimentation, satire and popular song intersected, giving the album its enduring influence among music lovers.

Sung by Rahbani and Sami Hawat, alongside Beirut-based musicians, the album features both Western and traditional Arabic instruments. It balances refined arrangements with lyrical irony, social commentary and political reflection, which remain deeply resonant in today’s context in Lebanon.
One of the highlights of the album is the song “Shou A’ada Ma Bada,” with lyrics by Joseph Harb, which reveals a clear bossa nova influence, while the closing track, “Al Mokawama Al Watania Al Lobnani,” offers a deeply human view of war, avoiding patriotic cliché in favour of a nuanced perspective rooted in lived experience.
As Mario Choueiry observes in his liner notes, “Ana Moush Kafer stands as one of the high points of modern Arab political songwriting, yet transcends its historical and geographical context through the universal relevance of its themes and the timeless quality of its music.”
Forty years on, Ana Moush Kafer remains a landmark of Arab music. Wewantsounds presents it on vinyl for the first time, newly remastered and featuring original artwork. This long-awaited reissue restores one of Ziad Rahbani’s most important works to circulation, reaffirming its place as a defining statement in modern Arabic music.

a 1. Ana Moush Kafer 5:03
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

[a] 1. Ana Moush Kafer [5:03]
[b] 2. Shou Hal Ayyam [5:46]
[c] 3. A'anitham [4:37]
[d] 4. Shou A'ada Ma Bada [3:45]
[e] 5. Yessa'ed we Yea'en [5:05]
[f] 6. Bi Halyawmayn [3:46]
[g] 7. Bharf Esheen [1:12]
[h] 8. Bhaneek [5:34]
[i] 9. Al Mokawama Al Watania Al Lobnani [3:06]

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

Celebrating ten years of independent music, Nerang Recordings returns with its sixteenth vinyl release, A Decade of Nerang Recordings - Mix Selections. Bringing together six artists from across the label’s history and extended community, the compilation showcases the diverse sounds that have shaped Nerang over the last decade. Featuring DJ Swagger, Nasty King Kurl, Subjoi, DOS, Low Tape and Moody McIvor, the release moves effortlessly between UK Garage, House, Tech House, Lo-Fi House, Electro and Synthwave while maintaining a clear identity throughout. Since its inception, Nerang Recordings has never been interested in following a single genre, scene or trend. Instead, the label has always focused on releasing music based on quality, individuality and atmosphere. Over the years that philosophy has resulted in a catalogue that crosses stylistic boundaries while remaining connected by a shared spirit. A Decade of Nerang Recordings - Mix Selections serves as both a celebration of the label’s first ten years and a statement of intent for the future. Each track represents a different corner of the Nerang universe, reflecting the sounds, influences and artists that have helped shape the label’s journey so far.

From rolling UK Garage rhythms and club-focused house cuts through to hazy lo-fi textures, cinematic synth work and darker electronic excursions, the compilation highlights the freedom that has always sat at the heart of the label. Rather than being confined by genre expectations, Nerang continues to embrace music on its own terms, allowing each release to find its own identity and audience. While thisrelease reflects on the past decade, it is equally focused on what comes next. The goal remains the same as it was on day one: support great artists, release music without limitations and continue exploring new territory wherever it may lead. Ten years in, Nerang Recordings remains committed to doing things its own way

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

“When the flesh gets cut off the soul, it’s not the end.”

More than forty years after hardCORPS emerged from a Brixton basement, ‘Metal & Flesh’ returns in a new expanded edition on double vinyl and CD, newly remastered with the full involvement of surviving members Rob Doran and Clive Pierce. Born from the collision of punk, analogue synthesisers, sequencers, disco, reggae and experimental studio techniques, hardCORPS created electronic music that was as physical and emotional as it was mechanical. The arrival of French vocalist Regine Fetet gave the group its defining identity, placing her raw, uncompromising voice against the dense machinery of Hugh Ashton, Clive Pierce and Rob Doran. Working mainly with a Roland System 100, several Roland MC4 sequencers and later an additional MC500 and Atari ST 1040 computers, etc. pp., hardCORPS always transformed limitations, accidents, distortion and human imperfection into part of the music itself. Although rooted in the early 1980s, ‘Metal & Flesh’ refuses easy nostalgia, retaining the tension, space and character that made hardCORPS unlike their contemporaries. Yet, shall we eventually mention Kraftwerk, maybe let’s quote Ian Shirley from Record Collector magazine: „’Je Suis Passée‘ was not only a love letter to Kraftwerk but penned with such verve, passion and precision that Ralf and Florian probably would have accepted a blind date at a Düsseldorf cocktail bar (…).“ And as Martin Rushent famously said in 1990: “Hard Corps were ignored in their time. Perhaps it is the burden of the adventurous and the innovative to be ignored in their time, which is sad. Don’t ignore them now.”

This new edition has been carefully remastered to preserve that character and dynamics rather than simply making the recordings louder or more ‘modern’, while the artwork has likewise been developed to reflect the band’s original identity. Metal & Flesh’ is not merely an artefact of the 1980s, but a rare and fiercely individual document of four people discovering what happens when human instinct and machines collide.

Remastered by Martin Bowes. Graphic design by hard CORPS and Steve Lippert.

Gatefold sleeve gloss lamination, printed inner sleeves with lyrics, two double-sided hand-numbered.

Lost Soul Super Rarity “Here I Am Baby” by Lady Jane reissued by Athens of the North

Rare 1980 Detroit funk-soul LP finally surfaces after 45 years, revealing a powerful story of survival and artistic resilience

Edinburgh based label Athens of the North is pleased to announce the reissue of Here I Am Baby, the only studio album by soul and funk vocalist Lady Jane (Jane Brice), originally recorded at Studio A, in Dearborn Heights and privately released in 1980.

Lady Jane recorded these sessions during a turbulent period in Detroit in the late 1970s, working with respected engineer Eric Morgeson and a studio band on material largely written by her then-husband. The album remained virtually unknown for decades, with copies destroyed in a flood and masters held by her ex-husband. A chance discovery by Friends of Sound Records founder David Haffner in 2022 set the reissue in motion. Remarkably, before his death, Jane’s ex-husband returned the original master tapes to her—yielding not only the complete multitracks for Here I Am Baby, but an entire album’s worth of unreleased material, also coming soon on AOTN.

Here I Am Baby showcases Jane’s extraordinary voice across a compelling blend of soul, funk, and disco, from the opening ballad through heavy funk excursions like “Never Lived In The Ghetto” and “Space Flight.” The album’s final track, “She’s A Star” - the only song Janewrote herself - carries profound personal significance. Recorded without her husband’s knowledge, the song directly addresses her survival of childhood sexual abuse and stands as a moving testament to resilience and self-belief.

Now an ordained minister, Jane Brice has spent decades away from the spotlight. But her voice—at once forceful, delicate, and vulnerable—deserves to be heard. Newly mastered from the recovered tapes, Here I Am Baby and the forthcoming Miss Disco present not merely a rare funk-soul artifact, but a powerful document of a woman’s courage in reclaiming her own story.

South Asian super-producers Lapgan and Baalti – the former a Madlib-disciple spinning hip-hop grooves out of dusty desi samples, the latter duo purveyors of intricately tapestried dance music – holed up in the California desert in early 2024 for a songwriting session to blend their complimentary styles. They ended up with several albums worth of club material built upon decades of Indian music history – floor fillers that move like early Four Tet meets The Avalanches. They’ve been teasing this material around the world during live sets – from Paris Fashion Week to Glastonbury, London Clubs to BK Warehouse parties, sessions at Lot Radio and Karachi Community Radio, and anywhere else they find an aux. The result has been endless ID requests for unreleased gems like “Ipa Ma” and “Lime Tikka”, calls which should finally be answered with the release of Threads.

Lapgan Bio
Chicago-based archivist and producer Lapgan has become renowned for his signature style: unearthing rare and forgotten Indian & Pakistani sounds and recontextualizing them into hip-hop and dance beats that evoke J Dilla and Madlib. He has cultivated a reputation for quietly revolutionary sample-work across his beloved solo projects History and Duniya Kya Hai, as well as LAFANDAR, his critically acclaimed team up with Heems (of Das Racist / Swet Shop Boys). He has worked with a range of artists from both the West (Your Old Droog, Saul Williams, Cool Calm Pete, Kool Keith, Open Mike Eagle, Blue, Quelle Chris) and the East (EXCISE DEPT, Baalti, Sid Sriram, Sid Vashi, Dynoman), and has been featured in global media including Pitchfork, FADER, Stereogum, Passion of the Weiss, Mixmag, Homegrown, and Vinyl Me, Please. Over the past year he has headlined clubs and performed at festivals across the world from Chicago and New York to London and India, and was personally invited to soundtrack back to back Paris Fashion Week shows for the similarly norm-shifting designer Kartik Research. In 2026 he will soundtrack his third Kartik Research runway show, as well as reissue Duniya Kya Hai for its five-year anniversary alongside a companion EP featuring remixes from peers and supporters Arushi Jain, Loris, Mera Bhai, Malkfunktion, and Maral.

Baalti Bio
Baalti makes electronic music built around rhythm, pressure, and collective release – weaving through leftfield bass, dusty hip hop, tripped out dub and raw house all while maintaining a throughline rooted in South Asian culture seen through the lens of a sweaty dancefloor. In the last year they have experienced a whirlwind rise and growing global recognition: from their EP Mela vividly evoking West Bengal’s sound system culture to their Tamil-cinema-infused filter-house project with Anish Kumar Stunt Doubles, in addition to wide-ranging collabs and remixes alongside DJ ADHD, Naya Beat, and A.R. RahmanThey have also built a reputation for their frenetic live show, with appearances at international festivals like Glastonbury and MELT, headlining shows across Australia and Europe and supporting influences turned peers like Four Tet and Disclosure across North America. Their explosive, percussion-heavy sets have been platformed by Rinse FM, NTS, The Lot Radio, Beats In Space, and Refuge Worldwide, and their music has been renowned by publications including Pitchfork, Bandcamp Daily, RA, and MixMag. Their forward momentum continues into 2026 with slated headline tours in India, Australia, and Asia along with appearances at Coachella, Party in the Paddock, Fvded in the Park, and We Out Here festivals.

One year after the release of his debut album Harap-Alb, Articulat returns with Harap-Alb: The Reworks – a companion record that continues the story rather than simply revisiting it.

Based on the original album Harap-Alb by Articulat. Reimagined by friends and fellow travelers.

Just as Harap-Alb leaves home, travels through unfamiliar lands, and meets companions who each shape his story, the music has now found new fellow travelers. Eight artists, each with their own signature, reinterpret one track from the original album, transforming it into something entirely their own while preserving the album’s essence.

The result is a richly varied collection that moves between dreamy synth landscapes, nostalgic strings, hypnotic excursions, broken rhythms, and straight-up dancefloor bangers. Every remix reflects the personality of its creator, turning the album into a conversation between artists connected by a shared appreciation for the original work.

If the first Harap-Alb was a personal retelling of a timeless story, The Reworks is proof that stories continue to evolve once they are shared.

In August 2022, Australia-based, French born fourth-world music legend Ariel Kalma was invited to participate in BBC Radio 3"s Late Junction series of special collaborations. The program pairs artists that have not previously collaborated to create new music together. Kalma was quick to suggest working together with two musicians whom he has never met - the International Anthem recording artists Jeremiah Chiu & Marta Sofia Honer, whose critically-acclaimed duo debut Recordings from the Âland Islands had been released just a few months earlier. Kalma sent an invitation to Chiu and Honer, which was received with great enthusiasm. Chiu had been a fan of Kalma"s work for a long time, even citing him as a major influence on his approach to electronic music composition. After meeting their goal of 20 minutes worth of music for the program (which was four pieces total), the three musicians were satisfied in what they would present, and sent along their work to the producers of Late Junction; but simultaneously they felt like there was much more to be said, more work to be done. There were several pieces that they had nearly completed that weren"t sent for inclusion in the radio program, and there were many ideas for refining those that had. The three musicians collectively agreed that they would continue work together and try to push the music further. The Closest Thing to Silence is the result of their efforts to take the collaboration further.

"Life Is Beautiful Again" is the debut album of Nadine El Roubi, a Sudanese-born, New York-based singer, rapper, songwriter, and multidisciplinary artist.
The album is the culmination of music created over the last three to four years. While the album can be categorized as primarily neo-soul, its true genre remains fluid — shaped by influences in hip-hop, neo-soul,and indie music.

Both melancholic and powerful, introspective and self-assured, Life Is Beautiful Again explores personal and external chaos, womanhood, belonging, and the determination to maintain faith through struggle. Thematically, it marks a shift from her previous work. Where earlier releases were overtly political, defiant, and outward-facing, this album turns inward. It is softer, more reflective, and rooted in the belief that vulnerability can be its own form of strength.

Written and recorded over three years across four cities, the album carries the imprint of many different versions of a Sudanese woman navigating change, loss, love, ambition, and growth, these songs became a way of making sense of the world.
At its core, the album’s message is simple: even through the ugliest of times, life will always become beautiful again.

De Kloe: their name is as hard to explain as the music they channel from a total oddball universe. Rumour has it a wormhole sits hidden between the beer crates and a broken dartboard in the basement of the DPG Media building in Antwerp. Leon Jespers, Elian Van den Eynde and Midas Heuvinck stepped through and came back with De Kloe’s first full-length album.

Needless to say, De Kloe operates in the cracks - splicing obscure samples, fractured lyrics, jagged basslines, and serrated guitar riffs into something volatile and alive. Club rhythms pulse underneath, but nothing stays in place for long. Tracks mutate, structures dissolve, and both live and on record the band leans into instinct over control.

After the singles ‘Our House’ & ‘The Fish’ the trio finally presents their debut album ‘Vanity Fair’: more extravaganza tunes you didn’t know you need it, but soon will be addicted to.

A place where pop music collides with dubbed out samplemania, short sharp no wave riffs, sun-gazing psychedelica, 90’s indie sleaze, post everything vibes and endless sonic fun & happiness.

Some people would say Vanity Fair is a musical exploration of glossy machinery, the dacay of celebrity and a secret wink to John Bunyan’s Pilgrim’s Progress where
everything is on display and nothing is quite what it seems.

Other will say ‘Vanity Fair’ is a splendid record with 12 marvelous songs you just have to listen to and buy it because your life will only gets better from then on.

We believe both of them.

Credits
All songs written and produced by De Kloe
Elian Van den Eynde: guitar
Leon Jespers: electronica & keyboard
Midas Heuvinck: bass

Guest musicians
Kiara Govaert & Nina Brügger: vocals
Kiara Govaert: ocarina
Co-production and mixing by Martijn De Bondt
Recording by Simon Beeckaert
Mastering by Gert Van Hoof
Graphic design and layout cover by Leon Jespers

Early DJ Support: Massimiliano Pagliara, Paranoid London, Logan Fisher, Terry Farley, James Holroyd, Rocky (X Press 2), Francois K, Marcel Vogel, Sean Johnston, Austin Ato, Ron Basejam, Richard Rogers, Oliver Dollar, Crazy P and many more

Creating an international name for itself over the past decade as a sample pack label, Samples From Mars made its inevitable venture into the music world originally as a home for founder Teddy Stuart’s work. Long before making samples, Stuart garnered credits working as a grammy-nominated recording engineer in the hip hop world, and DJing / producing with Justin Strauss as A/JUS/TED, for labels such as DFA, Domino Records and Southern Fried Records. Now the label is set to release a variety of genres - house, disco, techno, ambient, all with a vintage tinge and a focus on high quality, analog production.

Enter Salt Queen. Visual artist and musician Magali van Caloen together with Samples From Mars founder, Teddy Stuart. Based in New York, the duo combine hardware dance aesthetics with dry, salty takes on familiar club moments into music that sits somewhere between funny, raw and unpredictable.

Salt Queen’s debut ‘ARE U OK’ is an acid-laced, deadpan spoken word track with an opening line that snaps any room to attention. A disorienting club encounter unfolds over Italo-inflected 808s and a relentless 303 bassline. There are no chords and no melodies - just a skeletal groove and an intimate voice circling the dancefloor. Drifting between concern and provocation, the vocal runs through cliché club conversations before destabilizing completely into a siren-laden crash out. The ‘Freak Nasty Club Mix’ ditches the plot and lets the hardware breathe, with a thick SH-101 bassline anchoring the first half before a sudden switch into an unrelenting acid pattern that refuses to settle. Two versions of the same wild night out.

Athens-based multi-instrumentalist, songwriter and producer Raphael Meleteas presents "Someone Else", the title track and first single from his forthcoming debut album of the same name.

Written, arranged, performed, recorded and mixed entirely by Meleteas, the recording reflects an organic approach to songwriting, where warm analogue textures, cinematic arrangements and carefully layered instrumentation take precedence over studio polish. Every instrument heard on the track is performed by Meleteas himself.

Drawing from the rich tradition of orchestral pop, cinematic music and library recordings of the late 1960s and 1970s, Someone Else balances intimate songwriting with understated orchestration, creating a sound that feels timeless while remaining unmistakably personal.

Recorded in Athens, Greece, the single introduces the atmosphere that defines the forthcoming album: melodic, reflective and rich in subtle detail, unfolding naturally through live performance rather than digital construction.

"Someone Else" offers the first glimpse of Raphael Meleteas' debut album, also titled Someone Else, which will be released by Veego Records in September 2026.

TEMACHII creates immersive worlds where music, visual art, nature, and emotion blur together. Evoking the hazy surrealism of a once forgotten dream, the San Antonio-based multi-instrumentalist has built a devoted global audience through ethereal soundscapes, hand-crafted visuals, and songs that feel both deeply personal and universally comforting. Her music pairs ambient textures and dream-pop charm with an intimacy that feels like eavesdropping on an artist in conversation with herself—absorbing influences like Radiohead, Fiona Apple, Mitski and Aphex Twin while remaining less guided by genre than by feeling.

Her 2023 debut, flora maniia, was anchored by the 50 million-streamed hit “may you never forget me,” blending hypnotic acoustic guitar, lilting synths, and airy vocals into a reflection on love, memory, and the desire to leave a lasting impression. The follow-up LP, akrasiia, arrived later that same year, revealing a more stripped-back side of her sound while preserving the wonder at the heart of her work. Together with 2024 single “not/lost,” the releases have brought Temachii's art to fans around the world, a reach that feels especially meaningful given her Puerto Rican heritage. More importantly, they have transformed that audience into something more meaningful than simply streams and likes: a space for listeners to feel both safe and seen.

Type-303 is the project of Tampere-based Finnish producer, DJ and vinyl collector Dan Greijer. His releases for labels including Super Rhythm Trax, I Love Acid, Verrazzano, Zeitnot and 45 Live Records explore the connections between acid house, rave, early-'90s house and Balearic-influenced electronic music.

Enigmatic Dreams is Type-303’s first release on Cold Blow, a six-track 12" focused on the melodic and atmospheric side of classic electronic sounds. The release features Dr. Rhythm aka Mark Woollard, connecting Type-303’s production with the Cold Blow catalogue following the label’s previous compilation of Dr. Rhythm’s original 12"s, Hits The Vibes 91-92. Across the EP, Greijer draws from late-'80s acid, Italian dream house and early-'90s Balearic influences, using classic sounds including the Roland TB-303, 808 rhythms and M1-style piano tones.

MUSIKOMMT Volume One is a new vinyl release on Tractorecords, featuring four tracks by Francesco Passantino, The Rhythm Vision, Pogo and Sera.
MUSIKOMMT represents a Berlin-based hub for artists, events and collaborations dedicated to analog electronic music, live performance and vinyl culture.
The A-side opens with “Novembrina” by Francesco Passantino, followed by “Live Psychedelica” by The Rhythm Vision, a trio of musicians who create real-time analog live jams. The track is taken from a live recording at Club der Visionaere in Berlin and features a vocal insert by Rick Ellis.
On the B-side, Pogo presents “Shoutin’ Girl”, while Sera closes the release with “Stasera”.
A direct snapshot of Berlin’s analog scene, shaped by improvisation, machines and underground culture.

Cologne based DJ and producer Barnt has been bottling his own weather system since 2010: captivating techno where melodies flirt, rhythms evaporate, and structure is something to tease rather than obey. An attitude, that pierces the average definition of techno. With an album and endless EP’s, he turned club orthodoxy inside out. Barnt has sent his tracks out via labels like Cómeme, Mule Musiq, Hinge Finger, Hivern Discs, Kompakt, or Magazine from Cologne, the enterprise he co-runs with a bunch of friends.

After his 2014 debut album on Magazine, that came out as catalogue number 13, Barnt is back with number 25, a new album, titled “After completing the Hex”. Eleven tracks, each grinding lowkey skewed. This is techno for dramatic entrances. Dance music for confusion. Freely played chords oscillate with intention. Alluring melodies glide across stoic beats. Peaktime vibes stripped to the bone. An album that provides Barnt’s most complete release until today, displaying his unique sound world effortless assembled. Mastered by longtime accomplice, producer Matt Karmil, it features playful, seemingly unintentional, meandering club spirits. There are melodies made from 100 notes and hooklines fashioned from just one. In-between calmer electric enchanters, minimal, free-spirted, tempting. His slinky madness occasionally presents sublimely embedded environmental sounds or oral samples, taken from sources like Torn Hawk’s “Trustfall” TTT cassette album. There is a touch of sadness, that veils the recordings at times, always defied by lightness and optimism. A record made with true inspiration, that overrides all fears. Drawn frankly from emotions, bringing the ultimate flow state, that unlocks a new techno gate.

DubXanne, led by the talented Guido Craveiro, transform The Police’s iconic debut single “Roxanne” into a stunning reggae reinterpretation! This must-hear 7-inch features the imaginative production of Rob Smith (RSD), a leading figure of Bristol music.

Based in Hamburg, Germany, DubXanne are known for their reggae, roots, and dub covers of The Police’s songs. Here they team up with Rob Smith’s dubstep project RSD to deliver a dazzling dub version of “Roxanne.” The A-side showcases Rob Smith’s signature production skills, while the B-side features a finely reworked instrumental mix, allowing listeners to appreciate the intricate details of the track.

Bristol, UK-based Soul artist Scarlett Fagan presents her authentic and alluring sound through two fresh tracks produced by Tom Emerald aka Endemic. Scarlett takes cues from Soul / Jazz icons such as Etta James and Amy Winehouse, infusing her unique sultry flair. After touring Europe as the front-woman of the Hawkmen and featuring on several of their 12" Vinyl singles, she released her debut solo album in 2022 titled 'Conscious' - Scarlett Fagan is clearly poised to leave her imprint.
Side A’s “Awaken” reveals Scarlett’s vast range of vocal abilities floating over the deep horn and organ laced break-beat track, this portrays a soulful confession about moving away from chaos and moving towards purpose. The song represents the shift from insecurity to confidence. Side B’s “Arise” displays resilience. Although appearing vulnerable and honest the overall theme is perseverance, blending Scarlett’s sultry side with the melodic rhythm provided by Tom Emerald.

- 2026 repress - After a first appearance on the label in 2023, Amsterdam-based Isaiah is back on Molekul with a solo EP featuring 6 tools tailored for the club.

marta is a Paris-based live electronic duo pushing the boundaries of techno through a fully performed live setup combining processed violin, acoustic and electronic drums. Blending the intensity of club music with the spontaneity of live performance, the duo has developed a distinctive, physical sound that stands apart in today's electronic landscape. Following the acclaimed singles LINE and RAW, their EP PUSH confirms their artistic vision while supporting a rapidly growing international trajectory, with more than 120 shows scheduled through the end of 2026, strong editorial support and an expanding global audience.

SLOT is the high-energy, dance-punk project of couple Abby Detrich (vocals) and Max Detrich (bass, drum machine), based in Baltimore, Maryland, USA. Their music is a potent, genre-fusing sound described as gritty but flirty pop songs with a punk, in-your-face delivery, and pumping, heavy, danceable beats. Drawing on dance punk, noise pop, and alt-rock, their sound is rooted in Max's transition from drummer to electronic beats via a Boss DR-5 drum machine, with Abby contributing lyrics and dynamic vocals. The band's upcoming album is a bold, flirty, punchy, and raw statement, delving into themes of the intersection of performance and sexuality, self-acceptance, and personal reclamation. It was recorded with collaborator Danny Gibney in Harrisonburg, VA, capturing an experimental sound inspired by Y2K media. SLOT delivers an energetic, bratty, and in-your-face live show, having shared the stage with bands like Brainiac and played festivals like MACROCK. Beyond music, Abby is a floral artist and Max is a graphic designer, and they are both dedicated to progressive community causes in Baltimore.

SLOT is the high-energy, dance-punk project of couple Abby Detrich (vocals) and Max Detrich (bass, drum machine), based in Baltimore, Maryland, USA. Their music is a potent, genre-fusing sound described as gritty but flirty pop songs with a punk, in-your-face delivery, and pumping, heavy, danceable beats. Drawing on dance punk, noise pop, and alt-rock, their sound is rooted in Max's transition from drummer to electronic beats via a Boss DR-5 drum machine, with Abby contributing lyrics and dynamic vocals. The band's upcoming album is a bold, flirty, punchy, and raw statement, delving into themes of the intersection of performance and sexuality, self-acceptance, and personal reclamation. It was recorded with collaborator Danny Gibney in Harrisonburg, VA, capturing an experimental sound inspired by Y2K media. SLOT delivers an energetic, bratty, and in-your-face live show, having shared the stage with bands like Brainiac and played festivals like MACROCK. Beyond music, Abby is a floral artist and Max is a graphic designer, and they are both dedicated to progressive community causes in Baltimore.

Clara is the lead singer of Dakka Skanks, a Ska Punk band based in Brighton UK. Here she delivers two incredible new versions of Reggae classics from Brown Sugar & Rita Marley.

"I really like Clara’s voice, & this is the first of a series of releases from her on Soulside Productions. She is like my little sister; a strong woman who effortlessly captures the sound of the classic female vocalists from 60s & 70s Reggae" Marv Mack, Soulside Productions

Two stripped back downtempo jams from Bristol based producer Jamie Paton up next for SR008. Jamie’s distinctive dubbed out productions have been a firm favourite over the years since discovering his music on Emotional Especial, Hoga Nord, Multi Culti and Club Blanco. He’s a prolific remixer who’s worked with Goat, Plus Instruments, Minami Deutsch, Dâdalus & Bikarus, Blancmange, Johnny Aux, Khidja, Gatos Negros, Food Pyramind, and many more. This release is a perfect fit for Space Ritual and delves into
the darker side of his sound.

Off World is a slow & low spooked out dancefloor trip that meanders through layers of dark, eerie, rattling percussive echos and deep creeping bass. Contrasting atmospheres build throughout entering into a spacious call and response interplay. Fell Swoop's heavyweight bass and haunted sonics take you deep into uncanny space. The raw and swampy bass groove powers through sharp and ominous textures that circle around it.

Pressed to 10” with hand printed artwork on a black reverse board sleeve. Limited to 150 copies.

New Rosati on deck! The Italian producer returns with a deep excursion for the late-night hours. Shifting focus toward a warmer, more atmospheric sound, this release delivers rolling baselines, lush chord stabs, and infectious house-infused techno grooves. Pure sonic hypnosis!

Tuff vocals by Amsterdam-based Tesfa Zion over a Ray Ranking rootical 80s-inspired Riddim! This is the title track for our upcoming roots reggae album, releasing in the near future.

Digital Sting returns after a bit of a hiatus with an across-the-globe collaboration featuring two of contemporary electronic music's most mysterious and prolific figures. Berlin-based, UK- born Low End Activist meets British Columbia-based, Philippines-born SeekersInternational for a seamless merger of their distinct but eclectic styles. SKRSINTL's woozy abstracted dubwise and dancehall psychedelia drips in, pooling and merging into Low End Activists minimalist and precision delivered bass bin pressure. Both artists' music spends some of its time in the hazy edges and ambience between sounds with hints of the activity,

atmosphere and noise of the larger world present in the individual sounds themselves. An aspect of this record rides like a distilled essence of a merger between vhs era soundtracks, dusty live sound system tapes and classic era grime instrumentals but avoids the trap of obvious nostalgia. What is created through collage, deconstruction and refinement is in its whole very now. Like all things SKRSINTL and Low End Activist the continuum is honored and the momentum is always pushing forward.

The records come in double sided silk screen printed DJ Jackets, with Obi Strip style stickers and hand stamped white labels printed and assembled by Digital Sting.
The artwork for this release was created in collaboration between SKRSINTL and Digital Sting.

Mastered by Alec Ness and Greg Reierson. Vinyl run of 330 copies.

Det Gode Selskab continue their quest as they call on Berlin-based Italian artist Busso. An artist who continues to express himself through a multitude of vibes and sounds, fitting perfectly with the free-flowing DGS ethos. ‘Anna In The Jelly’ wanders between four different cuts, teasing animated deep house energy combined with stripped-back minimal flavours. A reflection of Busso’s versatile taste, he encapsulates four sure shots for your summertime record bag. A tale for the sun worshipping dreamers, soundtracking the warmer months.

Diving straight in with ‘Sexual Desire’, Busso delivers perky and playful peak-time action, with a clean-cut, feel-good energy from the word go. A vintage feel emerges through the vocals and crisp drums, working in sweet harmony. Slick hi-hats lead the way in ‘Don’t Be Afraid’ before you are confronted with a killer elasticated groove synonymous with the Italian’s sound. Beautiful chords appear at the midway point, spiralling into paradise.
The B-side kicks off with the title track, constructed in a distinct chunky manner. Squelchy mechanical tones manoeuvre around the mysterious drive of the track. Moody as it moves, it’s one for the darker nights on the road. Last but not least is ‘Red Print’, tightly packaged and incredibly detailed, with quirky obscurities flashing throughout. A steady motion perfectly sets the tone as you start to build the floor.
This record cements an exciting future for the label, as they look to continue elaborating on their catalogue, ever-evolving and expanding their width of sounds with one of the most exciting prospects currently in the German capital.

The third expedition is archived to wax...and what are its actual findings?

Why do we keep dancing in dark basements and out between the trees? Is it genetics?
Can we see what hides before our eyes? Or can we see better with them closed?

This expedition brings as many questions as definitive answers, and we will keep on searching.

Jamaica meets South Korea -- following his two BLESSYOU EPs, Turquoise and Journey Home, the Seoul-based artist returns with another stellar contribution, revisiting his early appreciation of reggae music: a 4-track EP by Korean producer and multi-instrumentalist Seungyoung Lee aka Mogwaa, immersing the listener in a rich blend of lovers rock, dub and reggae. The EP combines dreamy, dubbed-out atmospheres with warm basslines, lovers rock rhythms and subtle vocoder textures. Mogwaa approaches these Jamaican influences with a refined and distinctly personal aesthetic, creating a spacious and warm sound that feels both nostalgic and contemporary. Crucial for any contemporary music lover's record collection.

CHIWAX presents the 2nd release by David Böning
Another outstanding House Monster by the talented
Frankfurt based producer.
Higjhy recommended!

Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.

This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.

London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.