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2026 Repress
Twenty five years after its initial release, and accompanying the re-release of 'Internal Empire' Tresor Records is proud to present a new cut and pressing (180gm) of Robert Hood's essential 'Master Builder'.
The ongoing importance of this single and its adjacent album is indisputable, essential both to techno and to Tresor. It is a history intertwined.

This work elevates its maker as master, and remain a cherished moment in the Tresor story, sharing an irrefutable singular magic, sounding as present and indispensable as when first created. To understand this work fully is to stand back and celebrate its impact.
Originally released in 1994, 'Internal Empire' marks a point of transition for Robert Hood moving on from his previous collaborations within Underground Resistance. Robert Hood advanced uncovering the power of true minimalism. Deep soul through a simplicity that showed how much could be done with so little. The devastating rhythms of this album forge the unmatched spirit of this sound, influencing generations to come.

"25 years ago, I was faced with the challenge of following up on 'Minimal Nation'. I cancelled all my tour dates for that summer, setup my studio in the living room and began to work on 'Internal Empire'. My intention was to create something distinctively di erent. Looking out my living room window in Detroit watching people go by gave me a new perspective. It made me look at the world within myself. 25 years later I am still discovering.' - Robert Hood

This EP marks the first release from a collaborative project between Tokyo based DJ/producer Iori Wakasa and Okayama's Keita Sano, born from a quiet resonance between their musical sensibilities.

In Japan, the academic year begins in April. Though born in 1988 and 1989, the two artists belong to the same school-year cohort under this system, yet within Japan's gengo era structure they stand at the symbolic end of one era and the beginning of another. The title 'A Shift of Eras' points to the moment when one era gives way to the next, suggesting not only the passage of time, but the subtle renewal of culture, perception, and values.

'Filtered Jewels' draws from the image of light shimmering like gemstones, or a space scattered with countless jewels, perceived through an imagined filter that gently alters the way the scene reveals itself.
'Heaven's Door' envisions the ascent of a transparent staircase floating above a sea of clouds, leading toward a quietly resting emerald-green door.
'Shocking Yellow', originally created in response to a specific request, incorporates carefully placed vocal samples while grounding the track in warm, rounded low frequencies and organic textures, shaped with DJ use in mind.
And finally, 'Time To Change' was reconstructed repeatedly with the hope of offering both solace and a quiet sense of encouragement, ultimately becoming a piece that reflects the underlying theme of the EP.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

Orange Splatter vinyl. "Sermon of Mockery" by Pyrexia is not an album that tries to be accessible - it is built to be heavy, direct, and unsettling, and it delivers exactly that. Released in 1993, it sits right in the middle of a key moment when American death metal was evolving into something more technical and extreme. The sound is rooted in the New York scene: tight, compact riffing, constant stop-and-go structures, aggressive drumming, and deep guttural vocals with no room for melody. It's not about speed alone, but about control - everything feels deliberate, almost surgical in how the songs are constructed. Lyrically, the album revolves around a strongly blasphemous and anti-Christian theme. It's not just shock value; it's more like an inverted liturgy, where religious symbols are twisted into something dark and violent. This concept is consistent throughout the music, lyrics, and visuals, as you can see in the booklet. It may not be a mainstream landmark, but it played a key role in shaping the brutal death metal sound that followed. It influenced many underground bands and is still regarded today as a cult record. Listening to it now, the production may feel dated, but that's also part of its strength - it's raw, honest, and uncompromising. In short, it's a record that perfectly captures a specific era and mindset within the genre.

Freddie McGregor was born in Clarendon, Jamaica on June 27, 1956. At age seven, he started singing backup for a local ska harmony duo called The Clarendonians and did his first recordings aged 10 years with the name "Little Freddie" or "Young Freddie", and as a duo with Ernest Wilson aka "Freddie & Fitsy".

During the 1970s, McGregor was closely associated with the legendary Studio One label. He sang lead for groups like Generation Gap and Soul Syndicate, and also recorded off and on as a solo act during the '70s. In 1975, McGregor converted to Rastafarianism.

His debut album Mr. McGregor was released in 1979. The album opens with "We Got Love" featuring a Tower of Power influenced horn section underneath McGregor's tale of love conquering all. The classic "Rastaman Camp" combines muted horn and an earthy, Nyahbinghi-like chorus for one of producer Niney's deeper constructions, but the lightweight fare is equally welcome as the easy strolling and not too sugary version of "Brandy" displays.

Mr. McGregor is available as a limited numbered edition of 750 copies on orange vinyl.

Growing up just across the water from Italy, Clint Spiteri and Madeleine Baldacchino absorbed the shimmer of Italo disco long before Deadisko took shape. Their analogue pop celebrates the past while embracing the future. “1987” melts an addictive piano house groove with clean rhythms, a sleek and smooth sound with just a hint of romance. Cat-like, “La Costa” stretches before finding its funk-filled footing. Synth stabs are ruffled, teasing rhythm patterns opening avenues for melodies to bend, curve and race. The flip is introduced with the pop opulence of “This World.” Blue undercurrents are bolstered by Sean Kamati’s emboldening vocals, his smouldering voice accompanied by daring keyboard play. Brassy tones are veiled in smoke for “Ssunrise Drive.” Mechanical reverb is offered a human touch, organic warmth breaking through to an incandescent shine. Echoes of Italy that pulsate with the rhythm of Malta.

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

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

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

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

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

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

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

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

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

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

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

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

The Goblin Walk is an invitation to trace the footsteps of the eponymous creature through five swampy, dubby, liquid techno interpretations from four different artists. Label head Caldera opens with the gently underlapping space chug of 'Today', followed by Traevor's 'Reef' which turns marimba into a dubbed-out bass meditation. Caldera then features again under his Loop LF alias with 'Tiz', which pairs spectral sonic sketches with whimsical melodies that drift and float as if in a gravity-free zone. Streetfaxx then unearths a long-lost 2013 Cologne track, its patient rhythmic progression untouched by the passing years, before ambient textures take centre stage in Nightwaif's 'Xmas1 (vocal dub)' as tape experiments float over deep sub-bass, caught somewhere between 1980s new age and modern ambient minimalism. A compelling, exploratory world of sound.

A fresh reinterpretation project from 20/20 Vision’s Ralph Lawson and Carl Finlow that revisits their own classic Blaze remixes for 2026.

Originally remixing ‘Lovelee Dae’ back in 1997 for German label Playhouse and ‘Wishing You Were Here’ in 1999 for Slip ‘n’ Slide, these new takes deliver stripped-back dub versions and refined edits crafted for the dancefloor.

The collection blends classic Blaze soul with deeper, groove-driven house textures—highlighting the timeless songwriting of Blaze while giving it a fresh underground perspective

In discotheques and dark rooms across Europe, Boys’ Shorts have earned the trust of the queer and wider clubbing communities as generous stewards of a timeless sound that, like themselves, never stops moving forward. The duo of Vangelis and Tareq initially met at an underground club in their native Greece. Sensing a rare sonic connection, the pair became friends, forming Boys’ Shorts to meet again and again, travelling from their adopted cities of Thessaloniki and London to appear as far afield as Berlin’s Panorama Bar and New York’s Le Bain, as well as supporting Goldfrapp and Hot Chip on tour. Their motivation? In their own words, “we make people dance!”

Following years of gradual, thoughtful studio sessions, and EP releases on tastemaking electronic labels including Phantasy Sound and Live At Robert Johnson, Boys’ Shorts establish their own imprint, ALL SORTS, in order to deliver a fantastically ambitious debut album, ‘What Does It Take To Make These Men Happy?’

The LP opens with the grandiose, cosmic vista of ‘The Space Between Us’, a classic passage of strings and synthesis, before the shared Boys’ Shorts vision falls back to earthier territory with deep groove of ‘Let’s Fall In Love’, mixing universal sentiment with a patient vision of human potential and the voice of Greek electronic pioneer, K.BHTA. ‘Come’ aligns with NYC’s Michael Cignarale, offering an excitable invitation to the mind and body sculpted by the way of a throbbing, warehouse-sized statement of nineties house sensuality. Channeling heroes Lowe and Tennant at their most introspective, ‘Short Life’ maintains the dance, yet dares to ask, “what if the parties aren’t enough anymore… Can you ask for something more?”

Out of the pet shop and straight into the strobe lights, ‘Disco Romantica’ makes true on the promise of its title, a lovelorn monologue giving way and slipping into rave stabs and whirring synthesis that looks forward to a memorable, emotionally-charged night ahead. Underpinning this feeling of anticipation, ‘Going Out Hoping To See You’ introduces the voice of Justin Strauss to Boys’ Shorts' musical world. A certified icon of club culture, spinning from The Mudd Club to modern day DJ booths, Strauss’s generation spanning experience of nightlife leans into the fundamentals of human connection and the pleasure of musical discovery, wrapped in irresistible chug.

Another transformative figure in club music, Fischerspooner’s own Casey Spooner dips into French for the Motorik cyber sleaze of ‘MECANIMAUX’, their own vocals pitching up and down with playful EBM abandon. ‘Montage’ offers a different kind of composition, conjuring an ecstatic club banger that finds inspiration in nineties indie rock motifs alongside the rave scene, while ‘Run’ promises to blow out sound systems before its weighty electro bassline succumbs to waves of glistening synths.

Such bombast into beauty perfectly sets up the record’s blissful conclusion; ‘The Stars Are Out For You’ is electro-pop so delicate as to heal aching feet (and mend broken hearts), while offering the final tender moments of the album as a form of tribute on ‘Untitled (For Mitsi)’. It’s a thoughtful ending to a thrilling trip through a shared passion for electronic and pop music in all its glorious potential. What does it take to make these men happy? It’s a pleasure to find out.

When Henry Street & Sacred Rhythm Music join forces for a remix outing, it should be obvious the source material and resulting productions are of the utmost caliber. This record proves such a case in point: Johnny "D" DeMairo & Joe Claussell team up for two takes on Candi Staton’s 1979 disco opus 'When You Wake Up Tomorrow.’ The original, whose pedigree could be inferred simply by reading Patrick Adams’ and Jimmy Simpson’s names on the label, is a faultless dance floor cut featuring all the elements you’d expect—lavish horn and string arrangements, sparkling synthesizer accents, and plenty of hand-beat drumming—along with with Staton’s peerless voice. Johnny D’s mix starts carefully, the vocal refrain accented with auxiliary percussion until the rug is pulled out from under us, the ensuing chasm making the following thrust of the track that much more powerful. On the flip.

Claussell’s take starts with reinforced four-on-the-floor, along with a studio count-in, perhaps alluding back to his previous ‘It Seems To Hang On’ edit. As the track establishes itself, ample room is afforded for interplay between bass and guitar, with all the interlacing elements aggrandizing the mood with careful shots of delay and expertly-timed pivots in atmosphere. Both sides are proof of what shouldn’t need evidence: two masters of their craft assembling two wholly new mixes that far surpass the banal copy and paste, add and subtract methodology slung by the less blessed. Pressed on white vinyl, with a custom jacket to boot.

Benge is the influential electronica artist who launched the Expanding Records label in 1995. Polyrythmic Electronica is one of the underrated gems from Benge's discography, opening the series of re-issues from digital to vinyl on the new System Of Objects imprint.

New 10th anniversary fully remastered special silver-vinyl edition of Soul Jazz Records" ground-breaking Venezuela 70 featuring Vytas Brenner, Pablo Schneider, Angel Rada, Miguel Angel Fuster and many more. Venezuela 70 was the first ever compilation of its kind to take a look at the fascinating music scene created in Venezuela in the 1970s, a stunning blend of Funk, Latin Rock, European electronic experimentalism, Jazz and more! Venezuela during the 1970s was both a modern cultural and economic powerhouse in Latin America, rich from vast oil supplies. Situated at the northern part of South America, with neighbouring Colombia to its west, Brazil to its south and a north coast bordering the Caribbean. The country"s position and wealth led to an explosion in cultural activity during this time. Taking musical influences from all these surroundings as well as healthy doses of American musical sounds, the 1970s saw the evolution of a new generation of creative Venezuelan artists such as Vytas Brenner, Angel Rada, Pablo Schneider and Miguel Angel Fuster, who all explored the possibilities of creating a stunning "melting pot" mix of underground rock, synthetic electronics, funk, jazz and Latin American while simultaneously exploring their links with Venezuelan roots music, creating a new sound.

Considered by many one of the most gifted and outstanding players in the Electone community thanks to his fresh, energetic, rhythmic and sometimes humorous style of playing, from 1975 to 1977 Shigeo Sekitō released a four-LP album set titled Special Sound Series for the iconic Nippon Columbia. On the first chapter of this series, Sekitō revisits, in his own colourful style, compositions such as "You Are The Sunshine Of My Life" by Stevie Wonder, "Oh, My Love" by John Lennon and Yoko Ono, "Andalucia" by Ernesto Lecuona, alongside some of his own composition such as "My Sweet Girl" and the title track "Catch In Alice", creating a blend of easy-listening jazz with funk and soul influences. Long out of press, we are very proud to bring this "brilliant electone" album back on vinyl under exclusive license from Nippon Columbia.

©℗ 1975, Nippon Columbia Co., Ltd. / Licensed to Holy Basil Records by Nippon Columbia Co., Ltd.

Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.

Tibet opens the set and could be one of the best pop songs you've never heard. The innate sadness of the songs' content - the loss of a friendship, impending sorrow - is heightened to heart-melting level by McDowall's pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall's vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade's early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group's hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.

Rose McDowall's role in the canon has always been one of an outsider. Beginning in Glasgow's East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: 'They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power."

Night School's issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7' 'Don't Fear The Reaper.' First vinyl pressing is Clear w/ Black swirl; 500 only / has DL card and booklet, with a poster
CD has extensive booklet and is packaged in anO-Card.

Chad R. Matheny veröffentlicht seit 1998 exzentrische, textlich dichte Underground-Popmusik, oft unter dem Namen Emperor X. Nach seinem Studium der Physik, Philosophie und Musikkomposition legte Matheny eine Pause von der akademischen Arbeit ein und verbrachte einen Großteil der letzten zwei Jahrzehnte damit, die Welt mit Bussen und Hochgeschwindigkeitszügen zu durchqueren, um an Orten Musik zu machen, die von einem kleinen, aber vollbesetzten Konzertsaal in Portugal über eine leere Messehalle im Norden des Libanon bis hin zu buchstäblich unterirdischen Metal-Bars in der ganzen Ukraine reichten. Er tourt oft allein mit Gitarre und Synthesizer, teilt sich aber manchmal die Bühne mit Weggefährten wie Ratboys, The Hotelier, The World is a Beautiful Place and I Am No Longer Afraid to Die, Foxing, AJJ, The Front Bottoms und Xiu Xiu. Er produzierte das neue Brian-Sella-Album ,Well I Mean", war Co-Produzent des Sub-Pop-Albums ,Bits" der Jangle-Punk-Legenden Oxford Collapse zusammen mit Eric Topalski von Don Caballero und Storm & Stress und komponierte Videoundermusik für gemeinnützige Organisationen wie Planned Parenthood und SEIU. In den Jahren 2011 und 2012 wurde Mathenys Ambient-Werk ,Keeling Curve" in einer Multimedia-Installation des Fotografen Joel Sternfeld verwendet, die im Rahmen einer Retrospektive im Museum Folkwang zu sehen war.

Disco Segreta proudly presents the reissue of one of the most elusive and sought-after gems of underground italo disco, Govindo’s “Ou Ka Vini Com Moin”.

Originally released in 1983 on the obscure “Gala” label and quickly withdrawn from the market, this hypnotic, space-tinged cosmic italo disco bomb remained virtually unknown outside a small circle of hard core italo disco collectors — until now.

Wriitten by Mario Baldoni aka Miro and recorded during a journey across the French Antilles, the track was laid down in Fort-de-France, Martinique, capturing a unique cultural and musical intersection. Its title comes from a typical Martinican Creole expression—”U Ka Vini Co Muè”—meaning “C’mon, come with me.”

The track’s lush arrangement, crafted by Gregorio “Greg” Puccio, is a quintessential snapshot of analog italo disco at its finest: Roland Juno 60, JX-3P, Korg PolySix / Poly800, and LinnDrum LM-1 create a dreamlike, deeply atmospheric soundscape.

For the first time, this edition presents the original 12” full-length versions (vocal/instrumental), alongside the shorter 7” vocal version, remastered directly from the actual analog master tapes, plus two new remixes: the Marcello Giordani Hypnomix – a future electro synth classic from one of Italy’s finest producers and the Miro’s Fort de France Sunset – a balearic downbeat contemporary reinterpretation by the original artist 42 years after.

Gorizont Sobytiy (Event Horizon), the duo of veteran electronic musician Nocow and his wife, DJ Designer, mark the project's debut with an album worth of material of 'frogg-step' / Pankratov Step. It's safe to say this is an intriguing proposition for even those well-initiated into the world of the contemporary Russian underground. What is perhaps most immediately obvious across the 11 tracks is a clear appreciation for golden-era Rephlex records, as if the duo are reflecting on how the iconic label was perceived in the Eastern bloc at the time. There's a nostalgic touch tugging at the heart strings with the warm ambient tones of 'Bananoivy Twist' or even the ballroom-esque organ melodies of follow up 'Chacha', both swiftly followed by a switch back into frantic gabber style kicks that recur across the album.

To give a little more away in terms of a background story, Nocow and DJ Designer draw influence from a film called Winter Evening in Gagra, a somewhat distant feeling artefact of late-Soviet cinema about a tap dancing champion's late nights spent gallivanting across the glitz of Moscow's pop music scene in the 1980s. Maximalist in its sound design, Pankratov Step draws its name from actor-protagonist Pankratov, not quite an out-of-time soundtrack as such but at the least a wry nod to the former world in which the film takes place. The cascading, brittle synthesis of 'Cemetry's Boss' forms an icy cinematic fusion again with a gabber influence at play whilst a fierce acid line works alongside myriad glitch rhythms and repeating keys on 'Octopus Werk'. Influenced by the local humour and sentimentality surrounding the film, a melodrama with themes of lost art and a kind of old-world transcendence the young circus performer yearns for, the duo use it as a vessel to describe the projects sound - a coalescing of vintage Soviet soundtracks, early IDM, Jake Slazenger and Expert Knob Twiddlers album. 'Pankratov-Step' becoming their own fictional genre. The LP marks another avant-garde chapter in Nocow's long back catalogue, as well as a fully formed collaborative debut for the currently enigmatic DJ Designer. Pankratov Step is the second release on GOST ZVUK sub-label MEMONT, curated by Kuzma Palkin.

Founded in Puebla City in 1998 by Alberto Tlahuetl, Grupo Soñador played a key role in shaping a distinct regional take on cumbia at a time when the genre was largely dominated by Mexico City and the coastal scenes. Working with minimal resources, home recordings, cassettes, and affordable keyboards, the group developed a clean, melodic, and dance-driven sound that resonated deeply within the sonidero circuit. Their breakthrough track El Paso del Gigante (2001), spread organically through DJs and street dances, establishing Grupo Soñador as a cornerstone of Puebla’s emerging musical identity. Without a formal label structure, their music travelled hand to hand, from local fairs to migrant communities in the United States, becoming part of a wider underground network of circulation. Blending electronic instrumentation with sonidero rhythms, Grupo Soñador helped place Puebla on Mexico’s cumbia map, not through industry infrastructure, but through the dance floor.

Death Is Not The End collaborate with Uzbek label Maqom Soul to deliver an LP counterpart to last year's mixtape of the same title, compiling specially picked & fully licensed individual belters from the ex-soviet studios of Central Asian republics between 1978 and 1989 - incl. Uzbek, Tajik, Kurdish & Uyghur artists pulling traditional folk motifs together with pop & rock and psych elements.

"These recordings do not form a smooth or coherent history. They feel more like a sequence of discoveries made at different moments and in different circumstances. Songs and instrumental pieces that once lived inside specific contexts radio broadcasts, philharmonic programs, touring routes now sit side by side, revealing hidden connections as well as clear fractures between them.

Nasiba Abdullaeva appears here as a voice from the end of an era. Trained within a conservatory system, she worked inside the format of the Soviet pop song while filling it with melodic logic that did not come from Moscow or Leningrad. Her voice is soft and sustained, shaped by Eastern melisma, and it never functions as decoration. Even in tightly structured songs there is a sense of resistance, an effort to preserve a musical language rooted in Uzbek tradition rather than fully adapted to an all Union standard.

The ensemble Sintez, later renamed Navo, represents a different path. Beginning as a student rock group, the band was gradually absorbed into the official VIA system with all its limitations and compromises. Yet it was precisely within those boundaries that Sintez and Navo developed a recognizable sound. Electric guitars and jazz rock harmonies do not overpower the folk material but remain in tension with it. Their recordings feel like negotiations between what the musicians wanted to play and what they were allowed to perform.

The Tajik ensemble Gulshan reflects an institutional approach carried to a high professional level. Formed under television and radio structures, the group treated folk material almost as a written score. Carefully constructed arrangements, close attention to orchestration, and restrained use of pop techniques define their sound. There is less spontaneity here, but a strong sense of discipline and structure, where national melody becomes part of a carefully controlled sonic framework.

Koma Wetan occupies a very different space. Formed in the 1970s, this Kurdish rock group approached poetry and folklore as tools of cultural assertion. Their psychedelic rock never feels like a stylistic borrowing. Instead it functions as a contemporary vessel for language and themes that might otherwise have remained unheard. Even today these recordings sound fragile and stubborn at the same time.

The Uyghur ensemble Yashlik, closely connected to a musical drama theatre, operated somewhere between stage performance and popular music. Their songs are built on folk melodies but shaped for wide audiences. What emerges is a constant attempt to preserve the recognizability of Uyghur musical identity without freezing it in a folkloric frame. Yashlik's music exists in a state of balance between representation and development.

Digging Central Asia does not attempt to establish hierarchies or offer a single wayof listening. Names and dates matter less than the sound itself. Tape noise, abrupt transitions, and unexpected timbres remain part of the material rather than flaws to be corrected. This music existed at the crossroads of multiple routes geographic, cultural, and ideological. Heard today in a new context, it no longer feels peripheral. Instead it stands as a reminder that the history of popular music is far more fragmented, layered, and polyphonic than it is usually allowed to be."

Skull Snaps 1973 album on GSF is iconic because of the huge number of times tracks on it have been sampled by the Hip-Hop community.

The album, produced by genius George Kerr, and featuring the talented Ervan Walters and Sam Culley, was released with a flourish and in a classic gatefold sleeve but GSF floundered and the album flopped. It’s discovery by Rap music makers has been well documented but before that happened it was discovered by UK Soul detectives in the 70s.

As the Northern Soul scene shapeshifted on from 60’s Motown sound alikes into contemporary black music a whole new music rosta took over the dancefloors. And just as Gil Scott-Heron and Brian Jackson’s “The Bottle” got its debut British spins in the North, so did a whole slew of other acts - includung the Skull Snaps.

“My Hang Up Is You” became a single from the album and an underground anthem. One venue that became synonymous with the track was the Ritz in Manchester where the legendary Soul and Jazz -Funk All-Dayers helped shape UK dance music culture. Paul Mooney has created two 2026 remixes - one vocal and one instrumental - that pay homage to that 1970s golden era when Soul and Disco gelled into an unstoppable force. Fittingly both remixes have been dedicated to those Ritz All-Dayers.

Fresh Hold Releases presents Helen Ripley-Marshall's mysterious Australian ambient electronic album "Green Chaos", reissued for the first time on vinyl LP. Originally released in 1988 on Sydney based private press label Freefall, "Green Chaos" marks the sole release from Ripley-Marshall.

In the late 80's Ripley-Marshall lived a Bohemian lifestyle in inner city Sydney; "surrounded by musicians, actors and artists, there was an amazing creative experimental vibe going on". While playing in new wave/art rock band "D Face" she began Green Chaos as a personal project to counteract the creative friction sometimes experienced within a group dynamic, heavily inspired by Arnold Frolows' "Ambience" radio show on Australia's Triple J and particularly the music of Tangerine Dream, Harold Budd and Brian Eno.

Initially a solitary endeavour, once she decided to record in a studio Green Chaos morphed into a somewhat collaborative, improvisational project with other musicians invited into the studio to improvise and add their own interpretations and ideas, additional layers and dimensions, resulting in a work that combines a clear influence from the electronic repetition of the Berlin school with a meandering, futuristic lyricism. Although influenced by the long form sonic journeys of artists like Tangerine Dream, Ripley-Marshall's background in art rock and new wave brings a more concise approach, each song a self-contained universe that says only what is necessary in the arrangement.

After completing a sound engineering course Ripley-Marshall recorded the album at Sydney's Exeter House Studio over several months alongside studio engineer Andrew Knight, met through a fellow member of D Face. Knight ran Freefall, a private press recording label releasing folk and bluegrass music, which had Green Chaos as its sole ambient release. Ripley-Marshall self distributed the album to local inner city record stores and dropped a copy to Triple J, where it became a regular staple of Arnold Frolows' show.

These days Ripley-Marshall has moved away from music and is predominantly focused on visual art. "Green Chaos" stands as the only released product of her musical years, both a personal window into the vibrant experimental art scene of late 1980s Sydney and a deep, timeless anomaly of Australian electronic music.

Foundations Records brings you their hotly anticipated third release from Sonar's Ghost on Rinse Out EP - a bold four-tracker of breakbeat jungle, atmospheric jungle and jungle-tekno.

Sonar's Ghost

Starting out DJing in the peak hardcore era of 1992, Dominic Stanton rose as a post-hip-hop and ragga kid, cutting his teeth at free parties across the Shires. Drawn into the new directions of hardcore and jungle, he earned early gigs at the legendary Sanctuary, Milton Keynes, performing as Dom-unique.

Learning the art of beat-chopping on the Amiga 500, Dom landed his first release on Reinforced Records in 1995 and continued releasing into the 2000s as Static Imprints and Sonar Circle. Inspired by Dego and the evolving trajectory of 4hero, Dom began moving into more unexplored territory, producing eclectic, soulful beats under the name Domu.

After a brief hiatus, Sonar's Ghost was born - an outlet to explore the years Sonar Circle missed, from 1991 to 1995. Creating alternate journeys through that era, Sonar's Ghost reimagines the original sound palette using original sources, new blends of beats, and a lifetime of musical influence. For Dom, Sonar's Ghost is his happy place.

The Foundations release blends the eras and directions Dom loves most - from '93 bouncy darkside through to '03 drum funk - with authentic drums and samples integral to the vibe.

Here's the support on radio:

- Makossa (Radio FM4 Vienna)
- Distant Planet (Infrared FM)
- Sun People (Sub FM)
- Alex Ruder (KEXP Seattle)
- Haus of Beats (Txapa Irratia)
- Haus of Beats (Txapa Irratia)
- Tom Ravenscroft (Rinse FM)
- Jon1st (Subtle Radio)
- Martha (NTS / BBC R1)
- Harper (Czworka Polskie Radio)
- Gremlinz (89.5FM Toronto)
- N-Type (Rinse FM)
- Michelle (NTS)
- Mathieu Schreyer (KCRW, LA)
- Darkerthanwax (The Lot Radio)
- Bevin Campbell (PBSFM Aus)
- Errol Anderson (NTS)
- Ian (94.9 CHRW)
- OPR8 (Sub FM)
- Tramma (Noods)
- Carlos Contreras (Tilos Radio Budapest)
- Jay Scarlett (BR Puls Munich)
- DJ Tuco (91.90FM Prague)
- Ed2000 (Cashmere / The Face)
- Vinyl Junkie (Eruption Radio)
- Klaus Fiehe (1WDR)
- Benji B (BBC 1Xtra)

Ira James continues to navigate his Vessel Recordings Group label through classy house waters with a new EP from influential Brazilian underground talent Vivi Seixas. She opens up this new package with 'Fica', which is a lithe house groove with rising tones and trippy drones making it primed for the afters when reality is blurred. The drums are quick and the bass is rubbery and trippy Portuguese vocals pan about the mix to disorientate you. Hector Moralez remixes with chunkier drums and then Nonfiction, Vessel Recordings & Jon Lee hook up for a West Coast Connection that has a dubber and more stripped-back feel.

2026 Repress

- Linen Paper, Foil Printed Box Set
- Includes 6 Double LPs + 1 Single LP, 13 Discs In Total
- All LPs Pressed on Coloured Vinyl
-Each Disc is Housed in a Printed Inner with PMS Print, Finished with Spot Gloss Printing. Each Sleeve Features an Abstract of the Original Album’s Artwork
- Also included are a 4 page Insert + Poster

Skintone Edition commemorates the singular talent of this music pioneer with the re-release of all of his albums released via his own Skintone label.
Over a 20 year period Yokota released 30 albums and countless 12s under a variety of aliases, across more than a dozen pre-eminent labels. Yokota received domestic and international acclaim as a house and techno DJ and producer throughout the nineties. Part of the vanguard of the Tokyo scene, his influential release Acid Mt. Fuji inspires techno artists to this day.

In 1998 though, at the height of his success, he established his Skintone imprint, which came to eclipse all of his previous achievements. Skintone shone a light on the diverse new directions in which his creativity had blown, from delicate, cyclical tape-loop meditations to neo-classical compositions. It also gave him the autonomy to combine his visual and music-making practices and, importantly, to create at his own pace. The label was a great success and his experiments proved foundational in the global 00s ambient canon.

Skintone Edition will be available as 2 box sets - the first volume coincides with the 10th anniversary of Yokota’s untimely death and the 30th year of Lo Recordings. All music has been fully re-mastered. This edition is presented with the generous assistance of the Yokota family.
Albums Included:

Magic Thread 1998
Image 1983-1998 [1998]
Sakura [1999]
Grinning Cat [2001]
Will [2001]
The Boy and the Tree [2002]
Laputa [2003]

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur, even in the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I’m Here? was it.

mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I’m Here? became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

WRWTFWW Records presents the first ever vinyl release for the Startled Insects’ 1984-1985 abstract/synth-pop/post-punk/electronic run compiled into one album : The Antenna Years. The Bristol music must-have comes as a limited edition LP with astonishing artwork, liner notes and a heavyweight sleeve.
The Antenna Years compiles the independent EPs/mini-LPs the Startled Insects released in 1984 (self-titled) and 1985 (Underworld/Black Spring), with two bonus unreleased tracks that were only ever played in their live shows (W.W.W and What A Waste, both amazing).
Astonishingly futuristic when they landed in 1984, the Startled Insects sounded like they came from another planet while staying rooted in Bristol’s underground. Abstract electronic, leftfield synth-pop, dub science, gamelan heat, post-punk edge, cinematic atmosphere : The Antenna Years delivers one beautifully odd voyage into the sonic unknown.

In the 90s, the band released two albums, including the classic Curse Of The Pheromones via Antilles New Directions (Island Records), then evolved into The Insects: film composers for BBC/National Geographic, Emmy winners, and key architects of the 90s Bristol orbit, working with Massive Attack, Goldfrapp, Tricky, and members of Portishead.

Four decades on, The Antenna Years still hits like a transmission from the future. Dive in with no fear.

H- side is etched
The American cable-television industry exploded in the 1980s, pushing broadcasts of diverse programming and emissions of low-laying cultures into homes. Community stations piggybacked on the digital developments of the time, extending their existence through telephony and broadcast a iliates. For those growing up in this time, in locations such as New York City, the localized communications beamed into their homes exposed them to an impressionable array of disparate sounds and visions.
Move into the 1990s and New York was filled to the brim of emergent cultures drawing from this ebullition of communication. From Rammellzee’s shapeshifting to the late Judy Russell and Frank and Karen Mendez’s Nu Groove imprint fusing reggae, poetry and house, nascent ideas emanated from the city walls, from within stores such as Sonic Groove store and on VHS releases such as Stakker’s The Evil Acid Baron Show, a legendary technicolor psychedelic trip along the wildest frontiers of acid house. As scenes expanded and identities developed, such individuals weather the events of the visceral now, expressing themselves right into an unpredictable future.
Function’s long career has seen him uncover a vast range of sonic identities, a mainstay through house, techno and industrial with collaborations with the likes of Regis, Damon Wild alongside his highly influential Infrastructure imprint. With influences deeply tied to pop art, rave and gay scenes, and early memories of block-parties emitting Kraftwerk and Strafe, he found himself seeking out the undercover illegal nights of the 90s on a quest of sexual unearthing, mixing the ever-yearning escapology mission of disco with the influential DJ sets of Jeff Mills.
For his new album Existenz, he marks a clear step away from the corporeal techno of his recent releases. Pivoting around themes of religion, sexuality, trauma and healing, it is a work expansive and celebratory, a clear liberation from a deeply internalized past. Formed from a collection of recordings made in a period from late 2016 to mid 2019, Existenz takes the form of a creative outburst in reaction to a number of traumas - recent, childhood and throughout Function’s life. Life partner Stefanie Parnow assisted the production process in its entirety, providing inspiration, spiritual healing and featuring vocal contributions.
Cosmic synths soar and swoop in ‘Pleasure Discipline’ through towering stacks of rhythm that stutter and creak to a halt before rebooting, a firm robotic response to human intervention. ‘Zahlensender’ reflects a spatial tetris of urban life, as digitalization set within an XYZ matrix confronts the sprawling city. Constant arpeggiated meditations echo synaptic transmissions, e ecting a dissolution of boundaries. ’The Approach’ recalls the unification of the self, a state of delirium non-subjective and smooth, as all connections and functions give way to simple intensities of feeling, crossing the threshold into spirituality. ’Golden Dawn’, featuring Stefanie Parnow, marks a further elevation of dubbed-out euphoria, as once more positive rays emerge. His ode to the effortless short-trip urban navigation 'Kurzstrecke' finds Function in motion, upfront and bold, snapshots of conversation and flickers of light. 'Ertrinken' finds metallic bass jabs swamping snipped synthetic voices, with hidden stores of emotion set as a nod to the history of vocoders as a tool for encrypted military communication. House icon Robert Owens features on 'Growth Cycle' and 'Be', entrenching a celebratory atmosphere over Function's clubwise leanings. Closing track 'Downtown 161' reflects the unmistakeable filtered and squashed interjections of television, and sampled dance vocals - a sound for the curious, dreamers and dancers.
With Existenz, Function reveals an essential body of work, spread over 4LP - thought experiments on the role of identity and spirituality after a lifetime of upheaval and trauma. Leading up until the release date, Function will undertake an album promo tour with select dates - A/V shows at Berlin Atonal and Rural festival in Japan, and three dates as part of his Bassiani residency.

Urban Skies ist das neue Album des finnischen SynthKünstlers Kebu, das am 20. März über ZYX Music erscheint.

Das Album ist der Nachfolger von Urban Dreams (2021) und enthält Kollaborationen mit Johan Becker, Madis und Gattobus sowie eine Vielzahl an Solo-Tracks. Vollständig mit analogen Synthesizern und Drum-Maschinen produziert, verbindet Urban Skies melodisches Songwriting mit kraftvollen, von den 80er-Jahren inspirierten Pop-Metal- Ästhetiken und gilt als Kebus bislang vielfältigstes und ausgereiftestes Album. Die Veröffentlichung wird von einer europaweiten Tour begleitet, die 12 Länder und 32 Konzerte umfasst.

Keroxen presents Spandauer Damm 103, a new album by Dancelwerk.
Bringing together modular systems, worn drum machines and digital synthesis, the record nods directly to the first decade of Warp Records and the early logic of bleep culture.
Dancelwerk is a Tenerife-based electronic pioneer and one of the foundational figures of the Canary Islands underground. Active for over 30 years, Spandauer Damm 103 marks both a personal milestone and a renewed point of focus, reaffirming his role in shaping the region’s electronic lineage. The album draws on 1990s electronic futurism, filtering those references through a contemporary production approach rather than nostalgia.
The music moves between places and periods: from the early rave circuits of southern Tenerife, where Dancelwerk built his reputation through DIY releases and warehouse-level experimentation, to his later relocation to Berlin, famously arriving with a shipping container of vintage synthesizers and modular equipment.
Balancing melody and impact, Spandauer Damm 103 sets custom-programmed percussion against detailed sound design. FM, spectral and wavetable synthesis shape its harmonic and textural focus, resulting in music that remains physical without sacrificing clarity.
A long-standing practitioner reconnecting with his roots while pushing the system forward.

The latest release in the series exploring the musical worlds of Gerry Anderson is the most extensive yet. Space: 1999 ran for two series from 1976 to 1977 and depicted the occupants of Moonbase Alpha and their struggle for survival when, after the explosion of a nuclear waste dump, the Moon is hurtled into space.
The series was the most expensive produced for British television at that time and the most musically diverse of all the shows made by Anderson for ITC. Gerry Anderson’s long-time musical partner in all the previous adventures was Barry Gray and Space: 1999 proved to be the last of their collaborations.
Uncut Magazine referred to Series 1 music as “Pink Floyd without the mythology”. The first recording session for Space: 1999 took place on December 11th 1973 with a 52-piece orchestra performing the opening and closing title music. For the series’ incidental music between 32 and 38 instruments were utilised at any one session, all conducted by Barry Gray. The selections from Year 1 show Gray’s skills in creating a memorable opening theme as well as dramatically evocative cues highlighting the plight of the Alphans as they became known. The Year 1 album also showcases a selection of library cues which featured throughout the series.
Barry Gray was a classically trained composer and a versatile musician and was amongst the first composers to use electronic instruments in music for television. Best known for creating the music for most of the Gerry & Sylvia Anderson television series in the 1960's and 70's (Fireball XL5, Thunderbirds, UFO, Space:1999), Barry Gray’s complete musical opus is still not commercially available in its entirety. Fanderson, dedicated to the productions of Gerry Anderson, has gained access to all Barry Gray's original studio tapes and have undertaken a major re-issue project. Together with Fanderson, Silva Screen Records is championing Barry Gray’s incredible musical opus and is releasing the material in a series of physical and digital albums and vinyl records.

Mit Sowas von Egal Vol. 3 setzt das Hamburger DJ-Kollektiv Damaged Goods seine gefeierte Compilation-Reihe auf Bureau B fort - und richtet den Fokus erneut auf die subversiven Untergrundszenen im deutschsprachigen Raum der frühen 1980er Jahre. Abseits der kommerziellen NDW entstand eine kreative Parallelwelt: Bands zwischen Post-Punk, New Wave, Synth-Pop und Avantgarde veröffentlichten ihre Musik in kleinsten Auflagen oder im DIY-Kontext - roh, kantig und radikal eigenständig. Die hier versammelten Tracks spiegeln eine Zeit zwischen Aufbruch und Unsicherheit wider, geprägt von "No Future"-Attitüde, politischem Druck und künstlerischer Freiheit. Tanzbar, direkt und oft überraschend eingängig: Sowas von Egal Vol. 3 macht vergessene Schätze wieder hörbar - und holt sie zurück auf den Dancefloor.

7 Inch Orange Dinked Vinyl in Label Branded Sleeve

Originally issued on Paul Winley Records in 1973, “Smokin' Cheeba-Cheeba”—with Ann Winley on vocals—became a cornerstone of the 1980s UK Rare Groove scene, earning cult-classic status among collectors and DJs alike. On the flip, “Dance Girl”—also released under the Rimshots name—serves up one of the era’s most revered up-tempo breaks. Its unmistakable groove has been sampled by The Roots, Large Professor, and many others, cementing its place in hip-hop production history. The creative nucleus behind both The Mighty Tom Cats and The Rimshots would later evolve into the legendary Fatback Band, adding another layer of pedigree to this essential pairing. With original copies fetching high prices on Discogs, this special-edition Orange vinyl Dinked 7-inch, housed in a branded Paul Winley Records sleeve for Record Store Day, offers a rare chance to own two deep-cut funk/soul essentials on one collectible release.

LP Red Vinyl in Picture Sleeve

A criminally overlooked P-Funk treasure from 1981, Tighten It Up captures Chicago’s funk underground at its raw, electric best — with none other than Frankie Knuckles contributing as mixing consultant, giving the record an unmistakable dance-floor edge ahead of the house era. Long out of print and increasingly hard to find, this beautifully remastered RSD edition brings the Gold Coast classic back into circulation, this time on a Transparent red vinyl with restored artwork. An essential 2026 pick that shines a light on a missing link between P-Funk, disco, and early Chicago club culture — exactly the kind of deep, collector-grade rediscovery Record Store Day was made for. 1xLP, Picture Sleeve, Remastered, Transparent Red Vinyl.

Gems return with another superb signing from the 90’s the mighty Eagles Prey. The release reworks a 1992 underground classic, originally produced by John Kennedy (Apple Records) alongside Lee Grainge (Fat Cat Records) and Paul Coleman (Rocket Science , Rehab/Offshoot , Zoom Records) — a lineage deeply rooted in UK electronic history.

On remix duties, the Circulation Mix delves deep and hypnotic already receiving heavyweight support from Laurent Garnier and John Digweed, underlining its club and tastemaker appeal.

Jim Rivers, a proven serial producer and DJ, adds his signature depth and precision, balancing modern floor functionality with timeless underground sensibility.

Rounding out the package Ranj Kaler continues his standout run, currently omnipresent across production, remixes, and DJ sets, delivering contemporary drive while respecting the original’s DNA.

A release that bridges heritage and forward momentum, built for discerning DJs, specialist radio, and late-night systems.

In a dystopian universe where elites manipulate memory to control the population. Vibracid emerges as a technique of liberation through sound: a method for erasing induced memory.

THE RHYME marks the counterattack phase. The insurgents infect the system used by the elites for control and reprogram it from within: patterns, voices and sequences as active code.

Contemporary bass, electro, breaks, acid and rave converge as transmission vectors. Each track operates as a unit of intervention within this science fiction scenario.

At this stage, new signals are incorporated. Power, with a solid trajectory within the underground circuit, opens the EP in a forceful way, with an acid, surprising and spectacular impact. Exieve, a young producer from Chernihiv, continues the attack with a raw tension where vocals cut through the signal like sharp fragments. Alongside them, Lups Digga, Atix, Parand and Calagad 13 continue expanding the system’s reach.

This is the third of the Mad Dog releases – and is often cited as the best release they did back in the day. Pure hardcore jungle flavours written in 1994 in sunny Bournemouth by Dave ‘Aquasky’ Wallace and Shaun ‘Aurora’ O’Hara.

Originally released by Olly on Underdog Recordings, who shared a house with Dave and also Brent from Aquasky. A hub of hardcore – the studio was on the ground floor, the bedrooms on the second floor and the top floor was the record label and pirate radio that ran for a while!

Around the same time this record was made, Dave was also producing as Fugitive and engineering for Kieron Aquasky’s various drum and bass tracks. On top of that he was making happy hardcore as Rebel Alliance and engineering hip hop for Brent Aquasky. A very busy guy who is still producing in 2024!

Pressed by the mighty Phil ‘The Vinylman’ East on 180g heavyweight vinyl. This release is a bespoke product as no one record is the same. Designed to look like the planet Neptune and part of a 4 vinyl Cosmik series.

OMG!

Six track 12" collecting all the cuts of Wayne's first recording for Wackie's, from 1976. A classic of raw underground vibes from the Sounds Unlimited studio early days of Wackie's productions. This 12" contains: the original NY 45 vocal & dub cuts, the second mix of the vocal from the first 'Reggae Goodies' LP, the rare horns cut by Baba Leslie & Mark, the dub cut from the very rare 'Dub Unlimited' LP, a finally a previously unreleased raw rhythm drum & bass dubplate cut (NB: this last cut is taken from a 50 year old acetate and is appropriately crunchy!)

West Hill Music is a new sub-label from Periodica Records dedicated exclusively to productions curated by Mystic Jungle and conceived at West Hill Studio in Napoli, a longstanding creative hub active for more than a decade.
The project aims to reclaim and reimagine the language of mid-1980s music, drawing from both American and European New Wave through a personal filter that freely and instinctively blends elements of Italo Disco, Rock and Funk. The two tracks, moving within a dance-not-dance dimension, stand as a manifesto of this sonic synthesis and a further step in defining the aesthetic vision of the producer. On "Chasing Light", the collaboration with Igor Sekulovic continues, with the guitarist also appearing here as co-writer of the track, weaving together tense guitars, driving disco-rock bass-lines and slapback reggae-style vocals. "Under Pressure", on the other side, unfolds as a late-night electronic suite: minimal, aseptic and hypnotically repetitive.

2025 Reissue.



Münchenbuchsee, a suburb of Bern, Switzerland. Stephan Eicher is the youngest of three children. His father, a radio and TV repairman, is also a jazz violinist and a sound tinkerer in his spare time. In the family home's converted fallout shelter turned studio, Mr. Eicher experiments with homemade sequencers, tortures handcrafted drum machines, and abuses reel-to-reel tape recorders—all under the fascinated gaze of young Stephan.

The boy quickly develops a musical curiosity, exploring sound through various experiments and wanderings. Alongside his younger brother Martin, Stephan crafts audio plays on a homemade multi-track recorder (essentially several cassette decks hooked together!), which they write, record, add sound effects to, and perform for family and friends. Just a couple of nice kids, really...

Then comes 1972, and Lou Reed's Transformer album changes everything for the Eicher kids. For 13-year-old Stephan, it's a revelation—especially "Vicious", the opening track, which he plays on repeat for months. He convinces his father to buy him an electric guitar. Not stopping there, his father also builds him a tube amp using an old radio.

Then comes adolescence. A rough one. Stephan leaves home at 16 and moves to Zurich. With obvious artistic talent, he persuades his art teacher to help him get into F+F, a radical, alternative art school—despite his young age. Accepted, he starts learning video techniques, determined to become a filmmaker.

At F+F, Stephan organizes Dada-style happenings and concerts with a group of friends known as the Noise Boys. Among them: one of his teachers on bass, Veit Stauffer on drums (who would later found ReR/Recommended Records), his girlfriend Sacha on vocals, and Stephan on guitar. In one of their early performances, they release a remote-controlled mouse covered in dull razor blades into the audience to create panic and chaos. Keeping with this aggressive, confrontational spirit, they once played a concert while wearing headphones blasting Tristan and Isolde, trying to perform their own songs simultaneously—to maximize the cacophony. The goal was always the same: clear the room.

Their “songs,” if you can call them that, followed suit. Take "Hungeriges Afrika", for instance—performed entirely with power drills and some drum feedback.

To make ends meet, Stephan returns to Bern on weekends to work as a waiter at the Spex Club, the city’s main punk venue. On September 16, 1980, during a show by proto-electro group Starter, the police raid the club and arrest everyone. Stephan, who manages to avoid arrest, seizes the opportunity to “borrow” Starter’s gear left behind. He suddenly finds himself in possession of a Roland Promars synth, a Korg MS20, and a gorgeous CR78 drum machine, which he runs through a Big Muff distortion pedal to get that perfect gritty sound.

He then sets out to reinterpret some Noise Boys tracks, reworking them during impromptu sessions recorded on a dictaphone (yes, a dictaphone—now the lo-fi sound makes more sense, doesn’t it?). He ironically titles the resulting cassette "Stephan Eicher spielt Noise Boys" ("Stephan Eicher plays Noise Boys"). This gem features seven tracks, which are the ones reissued here.

Back in Zurich, he visits his friends Andrew Moore and Robert Vogel, who have a DIY cassette duplication setup. They make 25 copies of Stephan Eicher spielt Noise Boys for Stephan and his friends. Robert encourages him to visit Urs Steiger of Off Course Records and play him the tape.

Without much hope, Stephan shows up at Urs’s office. But Urs is instantly hooked and suggests releasing a 7” single. Due to space constraints, they reluctantly drop two of the seven tracks ("Hungeriges Afrika" and "One Second"). As for the musical score featured on the cover—it was randomly chosen and remains a mystery to this day. Calling all music theory nerds!

The 7-inch is pressed in 750 copies and released in the first week of December 1980—a date Stephan remembers well, as it’s the same week John Lennon was killed. Smartly, Urs sends a promo copy to François Murner, Switzerland’s answer to John Peel, who hosts a show on alternative station Sounds. Murner falls in love with the record and starts giving it airtime. To Stephan’s surprise, sales follow—and people actually seem interested in his music.

Even this modest underground success scares Stephan a bit. He stops making music for a year and moves to Bologna, where he works as a programmer at Radio Città, a feminist radio station.

Meanwhile, Stephan’s younger brother Martin, who’s also involved in the punk scene, joins the band Glueams as a singer and guitarist. Glueams, named after the fanzine run by two of its members (drummer Marco Repetto and bassist GT), eventually rebrands as Grauzone. Stephan is invited to their shows to project hacked Super 8 visuals live on stage.

Urs Steiger, now working on a compilation titled Swiss Wave – The Album, asks Grauzone to contribute alongside bands like Liliput, Jack and the Rippers, The Sick, and Ladyshave (Fall 1980).

For the album, Martin tasks Stephan with producing their recording sessions. Under Stephan's artistic direction, two tracks emerge: "Raum" and "Eisbär". During "Eisbär", Martin plays a minimalist bass line borrowed from post-punk band The Feelies (just an open string). Drummer Marco Repetto struggles to keep time. Later that evening, unhappy with the takes, Stephan builds a four-bar drum loop from a ¼-inch tape and uses it instead of the flawed original. He then adds bleepy synths and wind sounds to complete the track’s icy vibe before handing it over to Urs.

The Swiss Wave – The Album compilation is released quietly at first, but things snowball thanks to "Eisbär", which eventually becomes a smash hit—selling over 600,000 singles.

Meanwhile, Stephan plays in a rockabilly band called SMUV (named after Switzerland’s social security agency) and begins producing artists, including the debut album of Starter (1981), which includes a more pop-oriented version of "Minijupe".

By early 1982, Stephan starts spending time with the post-punk girl band Liliput (formerly Kleenex). They’re older than him, and he happily drives them around in his Renault Major, acting as their roadie.

By 1983, Grauzone—signed to the major label EMI, which turned out to be a misstep—is falling apart. Stephan begins to pivot toward a more mainstream pop sound with his debut solo album Les Chansons Bleues.

But that... is already another story.