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The latest from master editor Mr. K, a jazz-funk classic backed by a Philly sure shot!

Debuting in 1975, the jazzy RnB instrumental ‘Always There’ from original Earth Wind and Fire saxophonist Ronnie Laws was a hidden gem until Side Effect’s vocal version took off the following year, one of many cover versions to come (Incognito’s hit the pop top ten in the ’90s). Mr. K's edit streamlines the original, mimicking Side Effect’s distinctive horn stab intro and adding a DJ-friendly drums-only outro. With original 7-inch releases being either fragile styrene or unreasonably short, this extended vinyl pressing is very welcome.

A song that needs no introduction—coming from the very best there is—the O’Jays backed by MFSB! ‘For the Love of Money’ rides one of the most immense bass lines ever committed to wax and, while that would be enough to carry a track on its own (see the Armada Orchestra’s cover), here we have the talents of the timeless O’Jays vocals to top things off. Mr. K has found the perfect balance between the Lp and single versions, giving us the very best DJ-friendly 7" mix that should never leave your bag.

Apex militant late '70s style here, if you think you are into steppers you should have this one firmly in your sights. One of Mr. Smart's hardest records, this originally appeared only as an album track, but also had some fame as a dubplate played at the time by Jah Shaka and others. We've long had that cut in our sights, and while some nice new re-mixes of this tune appeared in the last few years, here is the real thing from '79 steel. The A-side features the raw dubplate cut vocal, no horns or other adornment, HARD to the point stepping drum and bass style. The B-side features the original Gussie Clarke dub mix aptly titled "Hot Steppers", also previously released only on album. This cut as well was run on dubplate back at the time, a killer mix with full horns but no vocal. Leroy Smart is one of our all time favorite artists and we take pride in having re-released a handful of his all time best records, this one now added to that list.

It's the end of the liberal democratic order. We regress. Back in time. To an era of authoritarian strongmen. Fascists. Morons. Humanity in reverse. History in reverse. Time in reverse. In reverse.

With absolute joy we can announce that one of our favorite dubplates of the last years is finally going to be released. If you heard Lion’s Den play, you heard this one. This is Violinbwoy’s take on a Belarusian traditional song. A beautiful interpretation by Laboratorium Pieśni remixed for sound system play by Violinbwoy in his laboratory.

A tune gathering the ancient spirits - from that time to this time… play it loud and feel the vibrations!

“Al destino”, the new album by Steve Pepe, began to take shape in 2023 after roughly a year of highly abstract sound research. The original intention was to create a dancefloor-oriented record, moving away from down-tempo structures, built around minimal, percussive compositions and high BPMs, with sound conceived primarily as a functional element.
In 2024, however, the process shifted. Less time was spent producing and more time reflecting. Emotions hovered between the urgencies of the present and unresolved past traumas, and almost without conscious intention, singing returned to the center of the project. It was not a calculated choice, but an inevitable one.
The resulting album does not draw its energy from distant places, nor does it focus on sonic experimentation as an end in itself. Instead, Al destino offers an intimate perspective on how memories and emotions shape the inner self, on the sensation of being simultaneously alone and deeply connected to everything, and on the struggle to reconcile feelings, sensations, love, and desire.

Jack’s House Recordings kick starts 2026 with a brand new VA featuring talent from all corners of the globe, with artists coming from Portugal, to Australia, the USA and Ibiza !

First up is Alex Arnout with “Baby Let You Know” which is another solid production giving punchy and techy energy with a baseline that will wake you right up when it drops in ! It’s dark, edgy, and has a powerful signature sound that is perfect for the big dance floors as well as your underground intimate ones. Alex is no stranger to the imprint, having been the first artist signed to the label which is about to celebrate it’s 10th year as an independent record label.

Next up, we welcome back popular and talented producer Carlo Gambino with “Time Of Need” which takes you through 6 and a half minutes of a lovely gritty underground groove, and vocal snippets of the track title throughout the arrangement with his warm and unmistakable signature sound.

Then we have AMO (um) & Mills with the more minimal track of the VA, “Therapy” This is a stripped back track but instantly memorable after just one listen. Driven by a simple kick, snare, haunting fills and a riding dark baseline, the track also presents a conversation between two Women having a slightly confusing conversation in a therapy session.

Last up, it is a pleasure to introduce and welcome USA’s Jordan Bernardo & Sharktooth from the Tasteless Thieves crew to the label with their excellent collaboration on the track “So Sorry” This is the light on the VA with this massively uplifting infectious groove. The track is giving skippy swinging beats, filtered vocals which tease in and out of the arrangement, and a great energy that takes you back to the early 2000’s era.

In a nut shell, this fresh Jacks Tracks VA offers 4 unique tracks that can serve any DJ at various points of the night, from warming up, a hands up moment, 3am pushing energy, and a perfect afterparty vibe too. That is always the aim with the Jacks Track VA series, to give vinyl buyers a bit of everything while maintaining talent and the nature of the underground.

A meteorite and a lost EP from an experimental electronic talent escape their grim fate: remain unknown to human civilization forever.

Around 2015, Gareth Smyth (aka Lumigraph) produced two tracks before uploading them on his Soundcloud page under the name “Canyon Diablo”, a tribute to a meteorite that crashed in Arizona 49,000 years ago. Amazed, the future co-founder of M+M Disques barely had time to download them onto his hard drive before they were deleted... until today.

Behind the extraterrestrial sounds of this 2-tracker, Lumigraph seems to want to establish communication with planet earth using its own means. In the dubby “Flamingo Drive”, he patiently builds up his sluggish groove before bringing in a reassuring and catchy bassline. On the B-side, the avant-garde “America Song” combines industrial rhythms, drone guitar, and Pierre Henry-ish noises.

* fine art printed insert + PVC sleeve

Fausto returns to the Carpet family, this time with three tweaked out jams perfect for the Circuits series. Spread across the A-side, the 9-minute ‘Moonland’ evokes its title with driving acid and cosmic Detroit atmospherics. On the B, ‘Nacho’ is a classic mood builder, tempering its own acid lead with expansive bass and a rolling groove. The EP closes with the stepping ‘Nirvana’, perfect for closed-eyes reverie at the afters.

For its 9th release after its relaunch, Apnea Records proudly presents another ERP record, this time in the form of a 2x12" Album "Faded Caprice" is a mesmerizing journey into the heart of summer's fading glow. Crafted with meticulous attention to detail, each track is a sonic tableau, capturing the essence of hot afternoons and wistful sunsets. E.R.P.'s signature blend of deep, cosmic funky electro gems resonates with emotional depth, inviting listeners to lose themselves in its hypnotic embrace. From the pulsating rhythms of "Miami Nice" to the introspective melodies of "Cape Earl "Faded Caprice" is a testament to E.R.P.'s artistry and vision. A testament to Gerard Hanson's music landscape, offering audiences a glimpse into the boundless possibilities of sound and emotion.

'Matsuli Music is proud to announce the first vinyl reissue of Philip Tabane’s Sangoma ("Spiritual Healer") since its 1978 release. Remastered from the original tapes with lacquers cut by Frank Merrit and pressed on 180g heavyweight vinyl at Pallas in Germany, this definitive edition re-asserts the power of one of South Africa’s landmark recordings. Featuring new liner notes by cultural critic Kwanele Sosibo and artwork restoration by Siemon Allen, Sangoma returns in full force through an extended Malombo line-up, fronted by Tabane's spellbinding guitar - ancestral, timeless, and unbound.
'Philip Tabane (1934–2018), the mercurial guitar genius of South African music, forged a sound that was as rooted in the spirit world as it was in daily life. With the Malombo Jazzmen of the 1960s, Tabane disrupted Western notions of “jazz,” bringing the resonant rhythm of cowhide malombo drums into the foreground. While outsiders and the uninitiated often reached for labels like “primitive yet sophisticated,” Tabane and his collaborators named it more truthfully: “music of the spirit.”
'By the time of Sangoma, Tabane stood at a crossroads. Fresh from a period of three years’ touring in the United States where he graced the Newport Jazz Festival, and played alongside Miles Davis, Herbie Hancock, Pharoah Sanders and others, he brushed off comparisons with characteristic self-assurance: “No, I don’t play like Miles. Miles plays like me.” Back home in South Africa, and with a newly signed international distribution deal with WEA Records, he harnessed this momentum into a larger band setting, capturing a rare intensity.
'The result was Sangoma—an album that bridges contradictions: expansive yet intimate, celebratory yet haunted by exile and return. Tracks such as “Sangoma,” “Hi Congo,” and “Keya Bereka” are not simply performances but living testaments, songs that would remain in his repertoire for decades. Unlike the moody, immersive character of much of his work, here Tabane is on the move—urgent, restless, uncontainable. As he announces on the second track, “Maskanta wa tsamaya” (“something that kicks ass”).
More than four decades on, Sangoma is both an historical document and a timeless invocation. From his home in Mamelodi to the world and back again, Tabane’s spiritual healing endures—raw, electric, and unbowed.'

Limited pressing …. 150 copies ONLY

3 timeless dancefloor weapons produced by label heads Diego Knows & Maják. A pure DJ’s record with zero filler. Essential wax for fans of deep, functional, groove-led house and techno.

The fifth release on L.I.T.S. (Lost In The Swirls) Records cracks open the Swirl People's archive of Raoul & Dimitri, delivering four cuts pulled from different moments in time and locked firmly on the dancefloor.
"Just A Dub Suckah" lands in its unreleased version, with the vocal pushed upfront for a rawer, more upfront hit than the 2004 Amenti release. "This Tiiime", a long-running underground favorite, finally drops officially. On the flip, "Izit Reel" makes its first-ever appearance - an unreleased weapon capturing the off-kilter swing and playful tension that define Swirl Peepz. Closing the record is "Cooper Went Down", first released in 2001 on French imprint FFWD.
Four tracks, no distractions: Party Tricks is Swirl Peepz at their most direct.

In 2025, Off The Grid celebrated 10 years of existence, throwing several events throughout the world.

It's now time to put a seal on these celebrations with a curation of music, gathering old and new faces orbiting the OTG galaxy, divided into two compilations.

For Part 1, deeper and deeper we go, focusing on delicate aesthetics and dubby grooves, trippy sounds and dreamy atmospheres. A soundtrack for early mornings and initial stages of the night.

Off The Grid was born around this sound and this is a tribute to it.

Part 2 will be announced in Spring.

Stay tuned!

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Mastering & Lacquer Cut by Marco Pellegrino at Analogcut Mastering Studio Berlin
Graphic Design by Guillaume De Ubeda
Pressed at Mother Tongue in Verona

Janeret & Halo Varga drop deep, tension-filled house vibes perfect for late-night sessions, powered by Franco Cinelli's killer remix that takes it to peak-time heights.

REISSUE

Originally released in 2000, World Of Love caught the spirit of the balearic progressive house of that time and the trance epic new coming movement. Being the second single from Clublanders and performed by Irene Cesar (top italo sabadell sound singer) is still today one of the most wanted tracks from the band.

BIG TIME again with Deekline and Aphrodite back on with the frnechies !! Don't miss that shit baby..... Be one of the rare who can spin this label:) Chack how sold out its everywhere ....

Part Two of our 'Back To The Old School' series has arrived in full effect. Once again, Mr "Love" Lee updates classic disco-rap cuts for today's dancefloors while preserving their original flavour and integrity. Kicking things off is Xanadu & Sweet Lady's Jamaican version of "Rappers Delight," where Dave refreshes the instantly recognisable percussion track into a captivating jazz-funk workout, perfectly complementing Sweet Lady's luscious rapping and somehow making it even more danceable than ever. Up next, Solo Sound "We Are The Crew (Called Solo Sound)" delivers a swampy, lo-down slice of cosmic funk primed to rock any block party. On the flip is an alternate Philly flavoured take on TJ Swann's 1981 jam "Get Fly." This time Dave Lee re-tracks the MFSB backbone, putting his remixing prowess fully on display and landing squarely in the dancefloor sweet spot. As a bonus, any wannabe disco rappers can hone their skills over the B2 Shepherds Delight (No Rapstrumental Mix).

"I got to know visual artist, musician, and producer Guido Erfen and sound engineer, acoustic artist, and percussionist Michael Springer as part of a group of five by the name of SHM1. The members of the group organised concerts at Rhenania, a disused grain silo, where I performed with The Absurd in 1988 and 1989. The band was also featured on one of Erfen's tape releases. Erfen and Springer met when they were still at the same secondary school and soon became close friends and musical allies. With the other members of SHM they built an independent network for creating and distributing music beyond the mainstream in Cologne. Rent at Rhenania was incredibly low, allowing a recording studio to be established there.

The first traces of the Ukrainian Underground arrived at Erfen's door via a cassette tape with three bands from Kharkiv and Kyiv, the package including a long essay which detailed the rock scene in the two cities by Sergey Myasoyedow. In 1986, Myasoyedow, together with Sasha Panchenko, had founded the “Novaya Scena“ rock club in Kharkiv, presenting bands inspired by punk, the avant-garde, dadaism, and even medieval melodies. If Erfen hadn't been part of the independent mail-art scene, he wouldn't have had the chance to discover this unorthodox music. It was the summer of 1990, shortly before the Soviet Union collapsed and Ukraine became an independent state the following year.

In 1991, singer and keyboard player Soloveyka from Kharkiv arrived in Cologne and gave Erfen half a dozen cassettes with underground bands from Ukraine and a handful with bands from the Soviet Union. Intrigued by the original music of many of the acts, he visited Ukraine twice, made friends there, compiled a tape with his favourite tracks and finally succeeded in convincing Hamburg label boss Alfred Hilsberg to present underground music from Ukraine on the CD “Novaya Scena“ via his label What's So Funny About (the original home of Einstürzende Neubauten).
The album compiled 20 tracks recorded between 1986 and 1992 by 14 bands out of Kharkiv and Kyiv– music beyond the usual Perestroika records, often with jarring dissonances over grooves that fans of Captain Beefheart or The Fall would certainly enjoy.

On the other hand, there are tracks featuring flute and trumpet that seem inspired by folk, classical music, and punk. Ghostly chamber prog miniatures by Cukor Belaya Smert (lit. Sugar White Death) from Kyiv featuring, among others, the classically trained pianist and singer Svitlana Nianio (née Ochrimenko) and guitarist, visual artist, and spokesman Yewgeny "Yenia" Taran. Nianio sang in her native Ukrainian, as did two more of the bands. Today, this seems more relevant than ever, more culturally and historically significant from a Ukrainian point of view than it was even in 1993. Young Ukrainians were amazed at that time that rock music sung in their native tongue could work!

It is in the aftermath of the “Novaya Scena“ album that the music on this LP was created. About a year after the release of the CD in August 1993, Nianio and Taran came to Cologne to work on music for the dance production "Transilvania Smile" by the dance theatre ensemble Pentamonia2.
The seeds for the Traces of Ukrainian Underground in Cologne were sown. Starting in 1994, a series of informal recording sessions took place at Michael Springer’s Phanton Studio and at SHM studio in Rhenania. Together, these sessions formed the basis of the four different incarnations of the Ukraine-Cologne connection heard on STROOMS’s compilation.

Ruff Kutz presents 'Found Sound', a debut solo album by Pugilist.

At a time where art has become readily reproduced and seemingly disposable, I have made something longer-form to be enjoyed as a complete piece, rather than it's single elements.

Found Sound delves into my internal monologue, which I hope results in a personal and introspective listening experience. Building on my previous discography - you can expect versatile sounds and tempos, with a washy dub-wise feel, intoxicating atmospherics, all in a genre-free structure. The album is floaty, euphoric and perhaps a surprisingly light listen compared to my normal output, but with notably huge bass and intricate percussion throughout.

The album taps into nostalgic reference points without leaning on retrograde tropes. While sculpted by contemporary production and FX, the sound remains raw and not overly polished. The album is best described as a collage of sounds that I have steadily collected over the last decade, which have inspired me, some very cheeky sampling and many a late night working on my studio tan. It is a tribute to the music I grew up with and love the most, from past to the present. It is fitting that this release marks the 10 years since I started the Pugilist alias.

This wouldn't have been possible without Umeya, who the album is dedicated to.

Tropical Pop return to serve two more peak-time refreshments to the stale dancefloors of the world !!

Bursting with flavour, artificial sweeteners and a whole load of E numbers, these cuts deliver totally tropical disco pump and tangy technoid madness - teased, tweaked and transformed for maximum sugar rush.

LIMITED EDITION - ILLICIT INGREDIENTS

Feel the fizz !

'Like the sharpshooting carnival contestant who knows that the winning practice isn’t to aim for the red star itself, but rather to shoot out a perimeter around the star and thus remove it, Old Saw have historically dealt with forms by tracing their boundaries rather than going for the target outright. If the first three records hinted at but never touched song-shaped forms, The Wringing Cloth makes at least glancing contact while retaining the layered haze and drawl that threads their sound together.
'Contrary to the often-used ambient tag, Old Saw shows up here in a markedly active and sculpted form — manipulating, unwinding, and pivoting with a strange and warped precision. What has always been uncanny about this music is that it arrives in a state at once familiar and obscured, like a memory weighed down with sensory information but no identifying details to place it.
'The Wringing Cloth walks off further into that geographical dream without time or language until it’s just a speck of light.'

Building upon the striking elegance of their first collaboration, Tobias Freund and Shun Watanabe reunite as Tobias. Doltz. for another extended excursion into designer electronica with a warm, dubby glow at its centre. Their first album Versus arrived on Delsin in early 2025 as a result of a chance meeting at Eden Festival the year before. The spark of inspiration led quickly to a complete and coherent first body of work, and the same can be said for its prompt, equally inspired follow-up. Dealing in the gentle hum of digitally sculpted ambience and needlepoint micro-pulses, Freund and Watanabe evoke the experimental spirit and mellow immersion of golden-era clicks n' cuts techno. While that early 00s phenomenon sometimes cracked around the edges of its DSP limitations, here a rich and porous sound world blooms out from the crisply defined structure of each track. At times the palette opens up to more organic sound matter, and there is ample space for full-bodied synths to ratchet down the rhythm, but a strong digital core of granular processing and exacting sound design form the bedrock of the album's subtle, sublime sound. Even though its calm demeanour radiates an instant charm, like all great electronica Frontiers Of Science is an album of hidden depths to be absorbed steadily over subsequent trips.

RAWAX MOTOR CITY EDITION presents Mark Ambrose - My Soul, Your Soul.
His timless release from 1999 comes with a fresh mastering to amaze the new generation of vinyl Lovers and those who are affraid of high Discogs prices.
Highly recommended!

Up Ya Archives returns with its first release of 2026, ‘Northern Step’, from Manchester-based jungle producer & DJ Worsleyy. The track arrives ahead of his upcoming EP of the same name slated for a 13th March release via Up Ya Archives Records.

Fuelled by crisp, tightly swung drums and a smooth, rolling bassline, ‘Northern Step’ is a salute to its junglist roots. Drawing from the Manchester rave records he was introduced to by his dad, and with the help of legendary Mancunion music mixologist Chimpo, Worsleyy channels those early warehouse energies and pairs them with his own progressive and futuristic lens. It’s heritage and evolution colliding, rooted, forward-thinking and built for sweat-drenched dance floors.

When speaking about ‘Northern Step’, Worlseyy said:

“Northern Step is a proper nod to the junglist past with the lush floaty vocals, calculated drum choppage, a smooth rolling bassline and Chimpo hopping on to drive forward the sound of the North.”

Worsleyy is a familiar face across the UK circuit, having played sets at The Warehouse Project and supporting Nia Archives on her 2024 UK tour in Manchester. Drawing from UK rave lineage and contemporary club sounds, his productions balance nostalgia with futurism, channelling the energy of Manchester’s acid raves. His tracks have travelled far beyond UK borders, spun by the scenes most forward-thinking tastemakers like DJ SWISHA, Sherelle, Pete Cannon, and Nia Archives on dancefloors around the world. Worsleyy’s rise has been as visible as it is audible — bold, bass-driven, and impossible to ignore.

Formed in Taipei in 2013, Scattered Purgatory (破地獄) has occupied a liminal space between drone, ambient, psychedelic folk and ritualistic kosmiche experimentation. Their early work, including ‘Lost Ethnography of the Miscanthus Ocean’ (2014) and ‘God of Silver Grass’ (2016), blended dense instrumental drones, improvisational guitar, and ambient textures rooted in the heat, humidity, and urban pulse of Taiwan. Over the years, the duo-turned-band has drawn on Krautrock, minimalist electronic music, and heavy drone traditions while remaining firmly grounded in Taiwanese geography and culture.

‘Post Purgatory’ emerges after a three-year hiatus following the pandemic, a period the band describes as pivotal to the album’s conception. “The feeling of loss and uncertainty has later become the inspiration of this record, and ‘time’ is the main theme – it can heal or it can destroy,” they explain. Musically and lyrically, the record traverses Taiwanese, traditional Chinese, and English, reflecting the multilingual fabric of Taipei life. While there isn’t a linear storyline, metaphor and poetry imbue the lyrics with reflections on love, loss, and the human experience, interlaced with influences of Hokkien and Mando pop and traces of trip-hop.

Recorded half in their home and half at the studio where they composed their first album, ‘Post Purgatory' integrates precision, clarity, and digital production techniques. Guest contributions—from White Wu’s dynamic drumming to Minyen Hsieh’s tenor saxophone and dotzio’s sci-fi-infused vocals—expand the band’s sonic palette, creating a doom metal record shaped by electronic sensibilities.

‘Post Purgatory’ is a statement of loss and re-empowerment, a bridge between their past and present. Through it, Scattered Purgatory reclaim their distinctive voice, presenting a sound that is at once rooted in Taiwan, informed by global musical traditions, and unflinchingly forward-looking.
credits

"Heith and Tarawangsawelas met at the University of Traditional music in Bandung in 2017. Their collaboration has been evolving since then, both in person and remotely. Recording and arranging songs over a long period of time and across a vast geographical distance has lent their practice a distinct character. This distinctive distance allows the possibility to see things from different perspectives and creates music that hovers both in place and out of it. Here, in this music, we are both inside the Sundanese Land, and outside of it, both on the European continent and not. This record carries compositions from one side of the globe to the other, catching spirits and energies from different places, societies and rituals."

PLONC's second offering. Thronvio — the sons of Thron, mighty Vodun, great benefactor and protector of the faithful — transplant the acoustic into the electronic, the ceremonial into the club. Cutting across genres, from peak-time to the small hours: Club jackin' grooves, ritual ambience, hand drums, 909, acid lines, chanting voices, distorted bass. Far out.

The origins of Body System date back around 35 years. Dissatisfied with previous experiences, the project was conceived as a meeting point between Sheffield and Detroit techno and German and Belgian body music. At the time, it never fully developed and remained largely an idea, with only a few sketches recorded on DAT. More than three decades later, that original concept has been revived. Following an invitation to contribute the track In Your Mind to the soundtrack of Electronic Body Movie, directed by Pietro Anton, the project was reopened and reworked, taking shape in the present while remaining rooted in its initial vision. These five tracks reflect an awareness of both past and contemporary electronic music, filtered through an undiminished experimental approach and a conscious refusal to adhere to stylistic conventions or predefined genres. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially remastered and mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

It’s been 12 years since Karizma’s last album, and in that time the world has changed beyond recognition.
What has remained constant is Karizma’s commitment to constantly pushing the boundaries of his sound and defying categorization, effortlessly moving from down-tempo soul, hip-hop, house and electronic dance, and connecting it all with his emotive production and his ear for moving a dance- floor.
“Can’t Call !t” is a double album that sees Karizma craft 17 tracks to take his music in ever new directions. As always, he pours his heart into every cut, always with a message and purpose of intent.
Like all of us, Karizma’s wondering what comes next, which way things will go. Can you call it?

Seven years after their debut ‘Gulden Onversneden’, Klein Volk once again puts bread on the table with ‘In Weelde Verbrast’, a tribute to the important afterthoughts of everyday life in times of utter seriousness. Amidst the vestiges of things taken for granted, Klein Volk felt the need to take root and delicately tend to their kinds of whim and naïveté - all balanced out in a garden of opportunity, for seasons to come.
Klein Volk is Marie Baeke, Timo Bonneure and Wesley Buysse.

Second release on Via Jupiter from label boss Psychederek this time teaming up with Behind The Groove's Bobby Thorpe for a full pelt Dancefloor 4-way
Born from a series of studio jams throughout the winter, the Manchester-based artists deliver a slick EP inspired by late 80's club joints and driven by a clean, stripped-back approach.

Artwork and label design by Ben Brumpton. Limited to 250 copies (of which we're allocated 150 - so be quick !!)

This murder three track 12" is the next installment in our ongoing Park Heights series. The Heptones "Get Up & Chant" is a certified roots anthem, FINALLY retrieved from album duty and now on a nice fat single for the first time, heavy anthemic roots with a killer mix and lashing reverb. Following this is another total gem formerly hidden away exclusively on an old Park Heights compilation - Bobby Floyd's "Need to Belong", a beautiful soulful roots tune with harmonies by the Heptones. On the flip side we have a total killer previously unreleased Stranger Cole roots tune from the early 80s, in extended discomix style.

Legendary 12 Tribes instrumental tune here, this is the alternate dubplate version with added instrumentation and different arrangement & mix. 12 Tribes musical director Pablove Black was the maestro of so much great music in the 1970s, from Studio 1 to the sessions for various producers operating in the 12 Tribes milieu at the time, such as his great work for Carl Fletcher's Uprising label that we've issued much of. As with the original 45 release of this tune, this is a 2 part instrumental spread over both sides.

New and long awaited releases in the Jah Life reissue program. Al Campbell's "Collie Herb" was originally issued on Jah Life 12" in US & UK, and on Kaya 7" in JA. "World Crisis" was originally issued on 12" on the Reggae Sound label in NY. Killer ganja tune and reality tune, back to back. "Collie Herb" comes equipped with dub, while "World Crisis" is a deadly discomix.

Kēpa is built whole, even if life has broken a few bones along the way.

Back when he was a pro skater, he gave everything to the board. Today, he gives that same intensity to the stage, delivering hypnotic cine-concerts where motion, sound, and image blur into one. The only falls left now are the ringing final chords of his guitar — not just an instrument, but an extension of his body.

Fingerpicking is his native tongue. So much so that Kēpa no longer sings — he lets the strings speak. Percussive, alive, essential. This music isn’t about performance, it’s about living: a personal quest, a way to reach others by first going inward. Moving against the current without fighting the wind. Finding breath, essence, and remembering we’re all drifting on a spinning planet, surrounded by forces bigger than us.

It’s easier to look away. Easier to follow noise, fear, or false prophets. Harder — and braver — to truly connect.

Released in late 2025, Hotline Service opened the door, offering a wide-open, spiritual escape. With SOUL WASH SERVICES— produced by Timber Timbre — Kēpa goes further. Warmer, deeper, more focused. The album feels like sunlight on asphalt, a long drive with the windows down, time slowing just enough to let something real surface.

A kindred spirit to Hermanos Gutiérrez, Kēpa plays the role of a modern, pagan preacher — guiding us through a dusty, golden road movie that unfolds entirely inside the listener. His music doesn’t shout; it cleans.

Kēpa does it all: writes, plays, films, edits, mixes. Music becomes image, image becomes music. Nothing is separate, on record or on stage. There’s no excess, no showboating — just an open invitation to slow down, go deeper, aim higher.

Tracks like Solarium and Paradisiac reach the peaks with minimal gear: five strings, a few picks, and total control of touch and space. Listening to Kēpa feels like checking in with yourself — a quiet inner trip shaped by sounds from every corner of the world. Blues, not to feel them, but to leave them behind.

After years devoted to picking, his playing has become something sacred.

And if you let it, it carries you with it.

Interstellar Echoes is a deep, hypnotic blend of Dub Techno and Dub House swing, built for late-night systems and long transitions. WM002 on Watermellow Music brings Benjamin Shock into full orbit mode: Warm chords drift through cavernous delays, low-end pulses stay locked and steady, and each track unfolds like a slow-moving spacecraft patient, spacious, and heavy with atmosphere. From the rolling drive of “Analog Odyssey” and the expansive glide of “Space & Time” to the tougher push of “Thunder Jam” and the weightless swirl of “Orbital Resonance,” this 12” is pure cosmic dubbing subtle, immersive, and endlessly repeatable.