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DISCO TAPE TO TAPE EDITS (MADE IN CHICAGO BETWEEN 1988-1999)

The British jazz/hip hop fusion collective Us3 founded in 1992 in London and its notable members included producers Mel Simpson and Geoff Wilkinson. The group scored a major hit in 1994 with “Cantaloop (Flip Fantasia)”, a track that displayed the group’s fondness for sampling classic recordings from the Blue Note label (in this case, Herbie Hancock’s “Cantaloupe Island’). The track was included on their debut album Hand On The Torch.

The album was a result of their connections with Blue Note owner Capitol Records, which gave Simpson and Wilkinson free rein to sample anything from the Blue Note catalog. Together with several musicians and rappers Kobie Powell and Rahsaan Kelly, they sampled a series of Blue Note classics, from Art Blakey and Thelonious Monk, to Horace Sylver and the previously mentioned Herbie Hancock. With the release of Hand On The Torch, Us3 had forged one of the most elaborate union between styles and became one of the best-selling jazz albums on the Blue Note label.

This landmark compilation has introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collection has been expanded with 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band.

The 3LP collection now contains 38 tracks, 30 of which have new mixes for 2023. The set’s 12 newly added tracks are collected on its 3rd LP. An insert contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 collection is a joyous celebration of The Beatles’ timeless musical legacy.

Contains tracks by Amon Tobin, Two Fingers, and Cujo previously only available to members of The Nomark Club, Nomark’s online subscription service.
NOMARK SELECTS Vol.1 includes the first new Cujo music since the Adventures in Foam album (1996)
A compilation of previously publicly unavailable tracks selected by the members of Nomark's online subscription service, The Nomark Club. The album features work from Amon, Two Fingers and sees the return of Cujo, Tobin's earliest alter ego.

• Within a year of her ground-breaking Double-Album “Bad Girls”, Donna Summer left Casablanca Records
to become the first Artist signed to the new Geffen Records label.
• The third album released for the label was 1984’s “CATS WITHOUT CLAWS”, which was produced by
Michael Omartian, who followed-up his production duties on “She Works Hard For The Money” by giving
the album a mid-80s dance/pop themed sound. The album includes the singles ‘Supernatural Love’, ‘There
Goes My Baby’ and ‘Eyes’.
• “CATS WITHOUT CLAWS” reached the Top 30 in several countries across Europe, also becoming a Top 40
album in the USA and Japan.
• Michael Omartian’s production credits include albums with Michael Bolton, Peter Cetera, Christopher
Cross, Amy Grant, Whitney Houston, The Jacksons, and Rod Stewart. Alongside Quincy Jones, he coproduced USA For Africa’s 1985 No. 1 hit, "We Are the World".
• Donna won a Grammy Award for Best Inspirational Performance for the album’s final track, ‘Forgive Me’.
• This special edition revisits the original album on 180g Pink Colour vinyl.

Ediciones Espectro Oculto has the pleasure to announce their first vinyl edition ‘Elementa Obscura Vol. 01’, a wave-infused compilation which moves through the dim & dazzling realms of electronic music.

The vinyl kicks off with a new-beat-esque track by Trenton Chase known for his EP released on Interstellar Funk defunct label ‘Artificial Dance’ and his collaborations with June (Mania Sans Delire) and Traxx (Internal/External) with a 12” released on Kode sublabel of the infamous Nation Records. Synth wizard and legend Martial Canterel delivers a masterful track that embodies his signature wave sound—driven by sophisticated analog sequences, atmospheric textures, and a vivid story telling with ‘Folly’. Closing the A side we have Gravitational Waves boss DJ Nephil, who’s bringing his raw & analog trademark which will annihilate all dance-floors.

On the flip side we have cult czech producer & DJ: Exhausted Modern known for his notable work managing the extinct ‘Endless Illusion’ label, he provides a de-constructed electro track with an exceptional sound design, so glad to have one of the key cultural figures on the czech electronic music underground scene. Having collaborated with labels like Pi Electronics, Phormix & Modal Analysis just to name a few, Fragedis blends elements that seamlessly propels dancefloors into motion. Finally, Argentinian duo Happy707 present a low-bpm track which hypnotizes you with a detailed synth bassline and gritty vocals that draw you in, creating a hypnotic listening experience.

6 cuts that give you the 1st glimpse of what ‘Ediciones Expectro Oculto’ is about.

Footshooter is the moniker of Barney Whittaker, a south London-based producer and DJ. His production style takes in influences from broken beat, jazz, house and more, working with rappers, poets and vocalists to create a soulful sound referencing the past while being firmly future-facing in its approach. His records as Footshooter and SAUL have earned airplay and support on BBC Radio 1 & 1xtra, BBC 6 Music, NTS Radio, Jazz FM and Rinse FM, from the likes of Gilles Peterson, Bradley Zero, Errol (Touching Bass), Alex Nut (Eglo Records) Shy One, Virgil Abloh, Zakia, Jyoti, Nabihah Iqbal, Bonobo, Jamz Supernova, Maryanne Hobbs, Mr Scruff and more.

His musically diverse live band sets and DJ sets over the past seven years have taken him to Boiler Room London, Tate Modern, Alexandra Palace, The Jazz Cafe and the Barbican Centre, as well as performances at Brainchild, We Out Here and Love Supreme Festivals. A Balamii Radio resident for the past 5 years with his monthly show 'Sonic Fruits', Footshooter's DJ sets are as versatile and wide ranging as his production credits, spanning the finest soulful house, broken beat, UK Rap, soul, jazz and beyond.

"This is the sound of London right now, and it is fantastic" - Juno Records

Edinburgh-based three-piece funk band High Fade are set to release their debut album 'Life’s Too Fast'.

Capturing the raw, on-stage energy that has been the driving force behind High Fade’s meteoric rise was never going to be easy, but that’s exactly what Harry, Oli and Calvin set out to do with a clear creative vision to record their album live at the iconic RAK Studios in London.

'We recorded in RAK Studios, with the desk built for the Rolling Stones in ‘76, with the same cigarette burns still on the faders. It instantly had a vibe of raw energy and liveliness to it that matched the way we wanted to record - live.' – Calvin

The result? 'Life’s Too Fast' – a blistering 10-track debut from one of the UK’s most exciting bands that manages to deliver the same tight, groove-laden funk rock that has put the group on the radars of Jack Black, Cypress Hill and Rage Against the Machine’s Brad Wilk, has seen them tour with The Cat Empire, and tick off iconic venues including Glastonbury, Jazz Cafe, and Boomtown Festival.

'We decided to record the album live rather than through the normal single track overdubbed method – we felt this would help to fully convey the band’s power, sound and energy across to the listener! More like we’re playing a gig and having it recorded – it was a tough process, but we went about it in the best way for both us and the audience, to ensure they’re getting the most authentic High Fade sound and experience possible.' – Oli

Having spent much of the last three years on the road seeing to a punishing tour schedule, 'Life’s Too Fast' is a chance for the band to stop and take stock, to reflect on their whirlwind success, and create an artistic milestone that demonstrates who High Fade are today. 'It’s the most accurate representation of what High Fade is, what we sound like, and who we are' explains Harry. Telling a clear story that matches their own experiences over the last few years, the album is a snapshot taken by a band who are accelerating towards real success and recognition.

'I’m glad we finally have a body of work that we’re proud of and feels like a collection of songs that nicely represents where we are right now. It’s organised chaos and shows that we like to play, but can also write a catchy tune.' – Calvin

Launching into proceedings with the effortlessly uplifting 'Take Me To The Floor', every track is a demonstration of the band’s technical prowess and broad sonic palette. A forward-facing selection of completely original material, the album also gave the band the opportunity to re-imagine fan-favourite 'Sharpen Up' as a stripped-back cut that reflects the band’s current lineup.

'Honestly, I kinda feel like I could explode with excitement about getting it out for everyone in the world to hear because it has been a long time in the making! A culmination of what all the singles have been working towards! I guess the album represents us and the direction we’re taking the music, it represents us as a trio and the gel that is High Fade.' – Oli

A thick kick... Hardcore on its form allied to a classic cruiser techno speed... Inviting Al Ferox !! Old school never die !

Exclusive collection of the Jamaican reggae singer and DJ.: all the tracks are from the Clement Bushay production in the years between 1974 and 1979 and nener released on a single vinyl. “Born in Clarendon, Jamaica on December 3rd, 1951, Prince Jazzbo, also known as Linval Roy Carter, burst into the music scene with his hit "Every Nigger is a Winner" and followed it up with "Step Forward Youth." These songs catapulted him to international fame, leading to a successful world tour.

Upon arriving in the UK, Prince Jazzbo connected with me, that I was already making waves with artists like Louisa Mark, Owen Gray, Tappa Zukie and Zabandis. This partnership led to a fruitful collaboration, and I am excited to share some of the incredible music that came out of our work together. I hope you enjoy it.” (Clement Bushay, November 2024)

First-ever vinyl release of the instrumentals! RSD25

Groove to the sounds of the Free Nationals like never before! Their self-titled album, Free Nationals, is finally getting an exclusive instrumental vinyl release. Fans can experience the full sonic landscape of their signature funk, soul, and R&B fusion with no distractions—just pure, smooth vibes and great music.

Pressed on 180g heavyweight black vinyl, this limited edition release offers pristine audio quality that showcases the musicianship and craftsmanship behind the album’s beloved soundscapes. Whether you’re a fan of their work with Anderson .Paak or just a lover of rhythm and soul, this release is a collector’s dream—an essential for DJs, audiophiles, and anyone who craves the instrumental heartbeat of this incredible record.

Posthumous record releases are always charged with emotion but when the release comes from a 17 year-old artist that was just getting started it is heartbreaking Anxious is a mesmerizing selection of songs that explore the highs, lows and uncertainty of teenage life through the eyes of Nell and is the follow-up to Where The Viaduct Looms, her debut collaboration with The Flaming Lips that explored the works of Nick Cave.

Guided by the talented Jack and Lily Wolter of Penelope Isles, who helped shape Nell's songs, some of which had been in the works since she was twelve years old, the result is an album brimming with emotion, playful melodies and a depth that hints at what Nell's future may have held. Nell's record includes three songs which were written in partnership with Canadian folk band Shred Kelly with whom she spent winter evenings writing in her hometown of Fernie, British Columbia, huddled round the fre in 2022. Jack and Lily Wolter subsequently completed these songs and the rest of the works in Brighton in 2023.

Nell's frst and only studio recording session at Bella Union's studio in Brighton at the tender age of 15 was an intense mix of long days with Jack and Lily expertly teasing out what was really going on in Smith's mind with the help of Doritos, Fizzy sweets, Coca Cola and inspiration gained by sneaking her into venues to see local bands play.

A lot of Nell's creative drive was rooted in raw teenage emotions; apprehension; love; travel; gratefulness; ambition; and grief. These moods are visited throughout the tracks on the album with an instrumental approach that brings joy into even the darkest of songs.

2025 Reissue

Exhibiting a solid background as a mastering engineer, Inner Lakes has spent quite some years locked in his studio (located between two of the biggest internal lakes in the north of Italy), to perfect his vast experimental sound. The use of modular synths, modified machines and sequencers is prevalent throughout his work. Defined in his own words as a "contemporary DJ tool" the forthcoming four tracker debut EP is set to be released via Vae Victis Records. The record is far from just a 'tool' with multilayered textures encompassed in dreamy soundscapes and a heavy driving energy throughout. His perfection in his work and passion for all things sound are a major catalyst for his sets. A mixture of unreleased material, futuristic sounds and hard hitting classics is what you can expect.

‘SUN SHONE’ is a multidisciplinary music and art project of Istanbul-born, Amsterdam-based Deniz Omeroglu AKA Loradeniz,. ‘SUN SHONE’ marks the arrival of her debut full-length album: eight tracks of ambient electronic music painted masterfully with a palette of synthesizers, effects, percussion and ethereal voice.

‘SUN SHONE’ was conceived in two parts: the first tracks coming spontaneously to life in the aftermath of heartbreak, with Omeroglu trusting the creative flow and using it as a method of self- healing. What was initially planned as an EP release grew into a full-length album as she spent one month consciously working on the perfect B-side to complement the music.

Omeroglu wrote, performed and produced everything on the album, drawing on her deep knowledge of music theory and production; in addition to studying classical piano in the Conservatory from an early age, she holds both a Bachelor’s degree in Composition Studies and a Masters degree in Sound Design.

Many of the compositions on ‘SUN SHONE’ centre around interplaying synth arpeggios, oscillators expertly tuned for an equal degree of menace and sweetness that balances on a knife-edge. This ambiguity is echoed lyrically across the record, with its recurring themes of love lost and memories revisited. From the spoken word of opener ‘Saint Odds’ and ‘Swimmer’ to the layered choral swells of ‘No Moon’ and the melodic hooks of ‘Brick House’, Omeroglu’s voice is central to ‘SUN SHONE’, employed with impressive versatility. At times, it feels simultaneously fragile and powerful, perhaps nowhere more so than in the yearning swells of “Cloud Sofa’, a healing lullaby for lost love that offers up one of the most delicate moments on the album. 


Whilst this may loosely be referred to as an ‘ambient’ album, Loradeniz’s knowledge of modern day production techniques and experience as both a sound designer and seasoned DJ (both in clubs and on radio) makes its presence felt throughout; echoes of Artificial Intelligence-era IDM appear in the dancing arpeggios and rhythmic pulses of ‘Sea Serpent’ and ‘Waterbear’, while the album closer ‘Aftersun’ could easily be imagined working as the euphoric last tune of a club set at sunrise. 


With her debut album, Loradeniz weaves together an impressive breadth of styles and sounds, all held seamlessly together by a feeling; a cathartic desire to bring out all the melancholia from within. The album opens with the words ‘The search of love continues in the face of great odds’ a suitable mantra for a record that manages to combine melancholy with intense rushes of positivity and hopes for the future.

All Portrait, No Chorus is the new album from indie rap pioneer doseone and NYC producer Steel Tipped Dove. Together, these two artists have crafted an uncompromising masterpiece. Knowing the caliber of MC he is paired with, dove skillfully paints with every color on the palette, and doseone skates effortlessly on every track, whether skating languid figure 8s or landing lyrical triple axels. Somehow the veteran sounds sharper than ever and the songs are lean and hungry, cut to the quick. It is no accident that this project is released under the Backwoodz Studioz imprint; the road that leads to this collaboration starts with, of all things, a ShrapKnel demo. Here is how dose explains it: "I have been inspired by Backwoodz for a while, in many ways, but the most potent being all these distinct pens. September 2023, I had heard a nearly done version of ShrapKnel's latest record, and something snapped in me. Hearing that perfectly hungry, inspired rapping turned my power back on. For me, being inspired warrants telling those who are inspiring you, so once I heard Decay I reached out and sent Fatboi Sharif and Dove some kind words about that record. The rest is history." At the end of December 2023 Dove sent dose the first beat pack. Somewhere around the second week of January 2024 dose already had five songs written and recorded. By the middle of March, a rough album framework was essentially done, and they brought on Minneapolis producer Andrew Broder to freak the turntables across the whole project. Then, as a final piece, dose and dove added select collaborations from some of their favorite rappers. By the end of April it was done. "I'm not really a features guy, but to align with and connect with those who inspire me, I called in some beautiful humans I had never worked with but always meant to: Open Mike Eagle, M.Sayyid, billy woods, Fatboi Sharif, and Myka 9 connect eras, artists, and styles of unconventional rap I hold incredibly dear," doseone explains. Listening to All Portrait, No Chorus you can hear the battery in doseone's back as he pythons his way through each instrumental. For his part, Steel Tipped Dove_a prolific producer over the last two years_delivers some of the most diverse work of his career. The result is a dynamic, propulsive listen that casts its crackling energy in every direction except backwards.

Japanese bamboo flute maestro and goat (JP) cohort Rai Tateishi makes an impressive debut statement with his holistic attempts to transcend the limits of ancient instruments to reveal gently delirious insights.

‘Presence’ is a triumph of improvised, elemental musicality that distills aspects of myriad folk traditions in pursuit of the artist’s own truth. For 40 minutes of singularly weird, locked-in performance, Rai Tateishi diverges his formative training in the shinobue (a bamboo flute) to applications for its elder sibling, the shakuhachi, and its distant relatives in the khene mouth organ of Northeastern Thailand and Laos, and even the Irish flute, with remarkable results returned from each.

Piece to piece, Tateishi adapts a spectra of unusual and extended instrumental experiments to articulate uniquely animist sound arrangements, with judicious use of a ring modulator and delay effects only subtly altering his sound in real-time, gelling the harmonics and smoothing off its contours. Some 15 years of studies and accreted knowledge of histories, timelines, and spirits are deftly tattered in the air and rebound in precisely complex ribbons that become all the more impressive by virtue of its in-the-moment recording.

Presented with no overdubs, the six works were recorded by label head and KAKUHAN/goat lynchpin Koshiro Hino across three days of adventurous improvisation capturing the breadth of Tateishi’s vision in a mix of succinct flights of fancy and one durational wonder where he really cuts loose. An opening piece of rapid percussive fingering and rasping sets the tone for increasingly intricate explorations of the shinobue, and bluesy cadence of a reedy Thai khene - antecedent of the shō - whipped into headier harmonic overtones, whilst his 5th piece for Irish flute best recalls Ka Baird or Michael O’Shea’s lysergic impishness, and a 13 minute closing piece most boldly fucks with folk and jazz traditions, in-depth and with the genre short-circuiting audacity of Rahsaan Roland Kirk.

Landing in the wake of prism-shaking works by Will Guthrie & Mark Fell, goat (jp) and Kakuhan; Tateishi’s ‘Presence’ more than lives up to NAKID’s impressive levels, unflinchingly operating by its wits with a verve and dare-to-differ moxie that gets at it from the first hit to the last, harnessing the kind of skill and ingenuity that’s distinctive but still strikingly minimal and overwhelmingly physical. It's a remarkable achievement.

The work of each of these powerfully creative & exceptionally perceptive individuals - poet and scholar Fred Moten and jazz bassist Brandon Lopez - concerns itself with how one might navigate the ascending reign of longinstitutionalised madness while simultaneously keeping humanity and sanity intact The synergistic mesh of these two voices in Duo is here presented on record for the frst time, following two acclaimed works on the Reading Group label in trio with Gerald Cleaver. Inimitable poet, cultural theorist, author, 2020 MacArthur Fellow, Fred Moten creates new conceptual spaces that accommodate emergent forms of Black cultural production, aesthetics, and social life. Moten is a professor of performance studies and comparative literature at New York University concerned with social movement, aesthetic experiment, and Black study. He is also a United States Artists Rockefeller Fellow and was elected to the American Academy of Arts and Sciences. Puerto Rican- American bassist Brandon Lopez is the son of a gravedigger who himself put time in doing the same, developing muscles that serve him well in his thorough command of the upright bass. On moving to NYC, Lopez made himself indispensable within numerous realms of creative music. As the Cleveland Review of Books noted, "This is virtuosity as vocabulary, a total command of texture, subtlety, and a depth that can be reached into."

On their previous work in trio with Gerald Cleaver:

"Best Jazz Albums of 2022: Moten is after nothing less than a full interrogation of the ways Black systems of knowledge have been strip-mined and cast aside, and yet have regrown." - New York Times

"8.0 - A conceptually rich, politically weighty album that asks timeless questions without over-explaining...breathlessly complex" - Pitchfork

Fred Moten: texts, voice
Brandon Lopez: bass

Burnski's high-quality Constant Black is back with more essential club-ready sounds. Donnie Cosmo and Pascal Benjamin step up for one side of action each. Cosmo's 'Holo Glitch' is first and pairs balmy synth work that is colourful and silky with some punchy tech drums and rolling bass that pulls you in deep. 'Echo Drift' is another lithe and lively one to get you on your toes while the groove flows and 'Airplane Mode' is another stylish mix of lush synth design and great rhythm. Benjamin's trio on the flip is a little more gritty with industrial-space-tech many the most fitting way to describe these curious cosmic cuts.

Crystal clear vinyl. 'PO$T AMERICAN' is the second full-length album by Dead Pioneers. Written in February and recorded in July, it preempts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band's 2023 self-titled debut. "Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us" says vocalist and songwriter Gregg Deal. "The title PO$T AMERICAN informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab." The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES, and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys. Overall the resulting feeling across the new album is one of cautious optimism: "Although we didn't expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need." It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

Elori Saxl's soundtrack for the VR film Texada is an exploration of the smallness of human existence within the grand scope of geologic time, mirroring the film's exploration of Texada Island's limestone-rich landscape. Saxl, inspired by her own experiences of island life on Madeline Island, assembled a soundscape that captures both the vastness of Earth's ancient processes and the intimate moments of human existence. Using analog synthesizers, baritone saxophone (performed by Henry Solomon), and processed field recordings of water and rocks, she created ambient layers that evoke cycles, waves, and the transformative forces of nature. The score begins with an exploration of Earth's origins and the emptiness of a rocky planet before life emerged. This foundation grows into pieces like "The Quarry," where the central geological feature, limestone, takes on a dynamic presence. As loops and rumbling textures evoke the rise and movement of stone over millennia, as abstracted creatures spiral upwards, full of life. The album concludes with "The Most Special Place," which serves as a final bridge between the cosmic and the intimate, leaving a lasting impression of how deeply human lives are intertwined with the ancient geology beneath our feet. Saxl's compositional process itself mirrors the themes of transformation and cycles. Working with limited time and resources, she recorded Solomon's saxophone parts early in the project, later repurposing fragments through re-pitching, stretching, and digital effects. As she explains, "I experimented with bringing out the human character of the saxophone by highlighting breath and imperfections while also pushing it into an alien/unrecognizable/bigger world through digital processing and effects." The result is a soundtrack that feels both organic and otherworldly, capturing the grand scope of Earth's timeline while remaining grounded in human emotion and connection.

Dekmantel UFO Series continues its resurgent form with a new album of bruising, industrial wave and techno from Broken English Club. UK techno mainstay Oliver Ho debuted his dark and brooding alias more than 10 years ago with a release on Jealous God under the guidance of the late, great Juan Mendez (Silent Servant) — Songs Of Love And Decay is explicitly dedicated to Mendez, whose influence runs deep in this seductively sinister corner of underground, independent electronic music.

Within the overarching aesthetic of the Broken English Club sound, Ho finds the freedom to deliver a full spectrum album as diverse as it is consistent. You can sense the shadow of his roots in 90s tribal techno punching through on 'Crawling' and 'Death Cult', while 'England Heretic' leans on thick swathes of analogue synthesis indebted to Giallo soundtracks and the ever-compelling lure of 80s synthwave. In its grinding layers of distortion and dubbed out vocals 'Vessel Of Skin' speaks more to the post-punk influences which have set Broken English Club apart since the outset. This isn't a purely retro-fetishist expedition, though — 'Pacific Island Kill' and 'Lost Gods' exude stark modernism in their sharply-angled sequences and dramatic sound design, moving beyond the functional demands of 4/4 dance music to reach to more cinematic zones.

These are but some of the approaches Ho burrows into as he shapes out the depth and breadth of his muse on Songs Of Love And Decay. It's marked by the undeniable impact of his production, perfected over a decades-deep career at the bleeding edge of machine music. At times the album celebrates the addictive thrust of the dancefloor, while elsewhere it relishes the tension of suspended animation. Throughout, the gritty veneer binds together this accomplished, uncompromising body of work as both a fierce artistic statement and a loving tribute to Mendez — an artist who equally embodied the darker side of the dance.

SCI+TEC celebrates a pivotal moment in its history with the release of I Feel Speed (2025 Remixes), a special project revisiting one of Dubfire’s earliest solo works and one of the label’s foundational releases. Originally released in 2007, Dubfire’s cover of Love and Rockets’ “I Feel Speed” marked a bold venture into uncharted territory, with the Grammy-winning artist taking on vocal duties himself to reimagine the iconic ballad.

In Dubfire’s own words, “Throughout my career, I’ve made no secret of my love—bordering on worship—for Love and Rockets (and, of course, Bauhaus). Tackling their soft ballad ‘I Feel Speed’ in 2007 was a daunting but transformative experience. Over the years, fans and colleagues have kept their love for that cover alive, which makes this new remix package even more meaningful.”

This release brings together a stellar list of artists, each offering a distinctive interpretation of the classic. Stephan Bodzin adds his signature emotive touch, while Yulia Niko dives deep into hypnotic textures. SNYL, whose admiration for the original track sparked the project, delivers a rework that strikes a balance between reverence and reinvention. Rafael Cerato and Laherte craft a dynamic reinterpretation, and indie dance pioneer Erol Alkan offers a genre-blurring remix full of energy and innovation.

I Feel Speed (2025 Remixes) is a testament to Dubfire’s enduring legacy, the timeless influence of Love and Rockets, and SCI+TEC’s continued role as a beacon of innovation in electronic music.

Originally released on CD only – those were the days – “Triola im Fünftonraum“ counts as one of the most iconic albums of the early Kompakt era. Experience this timeless masterpiece of lush electronica lovingly restored and remastered for the first time on vinyl – 21 years after its inception.

We found this review from back in the days that perfectly sums up what “Triola im Fünftonraum” is all about:

The press material for “Triola im Fünftonraum” made allusions to home listening, when the album is mostly about movement… in a car …preferably a fast one … on a muggy spring day.

This might catch followers of producer Jörg Burger off guard. Up until this point, the producer’s Triola tracks – limited to three consecutive appearances on Kompakt’s yearly Pop Ambient series and a spot on “Leichtes Hören Teil 1” – were free-floating ambient washouts (albeit wondrous free-floating ambient washouts) with no pulse. The album, on the other hand, is beat-driven. Though still resolutely ambient – more an update of Burger’s lushest Bionaut tracks, only fully engaging instead of mildly diverting.

The soft, synthetic hand drums and tranquil vapors of “Leuchtturm” from Pop Ambient 2003, remain untouched and begin the album. Two other tracks that might sound familiar receive dynamic overhauls, now supported with quick dance rhythms and additional layers of synth gauze; the whispy flute trills and lightly flickering keys of “AG Penthouse”, for instance, are melted into a churning rhythm and some singing keyboard vamps that resemble a relaxed take on Tangerine Dream’s suspenseful soundtrack work for “Thief” (minus the crazy guitars).

What really makes the whole thing glow is the manner in which the tracks are attached, flowing in and out of another, rising and cresting and receding, with supreme poise – even if its title provides no indication, the album is as much a travelogue as Carl Craig’s “Landcruising”, Morgan Geist’s “Driving Memoirs” and Model 500’s “Deep Space”.

These are some of Burger’s most inventive productions, a remarkable feat since he’s been doing this so long. Catch yourself in the right frame of mind and you’ll wonder if everything he has released has been one extended ramp-up to this. In this age, it’s also refreshing to have a purely ambient techno album with absolutely no connection to “Boards of Canada”.

In other words, it’s a landmark for both its label and its genre.

Andy Kellman

Copyright 2025 TiVo Corporation
Ursprünglich nur auf CD veröffentlicht – das waren noch Zeiten – zählt „Triola im Fünftonraum“ zu den ikonischsten Alben der frühen Kompakt-Ära. Dieses zeitlose Meisterwerk schwelgerischer Electronica erscheint nun 21 Jahre nach seiner Entstehung erstmals liebevoll restauriert und remastered auf Vinyl.

Wir haben diese zeitgenössische Rezension gefunden, die perfekt zusammenfasst, worum es bei „Triola im Fünftonraum“ geht:

Das Pressematerial für „Triola im Fünftonraum“ spielt auf das Zuhören zu Hause an, obwohl es in dem Album hauptsächlich um Bewegung geht … in einem Auto … vorzugsweise einem schnellen … an einem schwülen Frühlingstag.

Das könnte die Fans des Produzenten Jörg Burger überraschen. Bis zu diesem Zeitpunkt waren die Triola-Tracks des Produzenten – beschränkt auf drei aufeinanderfolgende Auftritte in der jährlichen Pop-Ambient-Reihe von Kompakt und einen Platz auf „Leichtes Hören Teil 1“ – frei schwebende Ambient-Auswaschungen (wenn auch wundersame frei schwebende Ambient-Auswaschungen) ohne Puls. Das Album hingegen ist beatgetrieben, obwohl es immer noch entschieden Ambient ist – eher eine Aktualisierung von Burgers üppigsten Bionaut-Tracks, nur dass es voll und ganz fesselt, statt nur leicht abzulenken.

Die sanften, synthetischen Handtrommeln und die ruhigen Dämpfe von „Leuchtturm“ aus Pop Ambient 2003 bleiben unangetastet und bilden den Auftakt des Albums. Zwei weitere Stücke, die einem bekannt vorkommen könnten, erhalten eine dynamische Überarbeitung, die nun von schnellen Tanzrhythmen und zusätzlichen Schichten von Synthesizer-Gaze unterstützt wird; die flüsternden Flötentöne und leicht flackernden Tasten von „AG Penthouse“ zum Beispiel verschmelzen zu einem aufgewühlten Rhythmus und einigen singenden Keyboard-Vamps, die an eine entspannte Version des spannenden Soundtracks von Tangerine Dream erinnern, der für „Thief“ (ohne die verrückten Gitarren) verwendet wird.

Was das Ganze wirklich zum Leuchten bringt, ist die Art und Weise, wie die Tracks miteinander verbunden sind, wie sie ineinander fließen, ansteigen und ihren Höhepunkt erreichen und wieder abklingen, und das mit höchster Gelassenheit – auch wenn der Titel nichts darauf hindeutet, ist das Album ebenso ein Reisebericht wie Carl Craigs „Landcruising“, Morgan Geists „Driving Memoirs“ und Model 500s „Deep Space“.

Dies sind einige von Burgers einfallsreichsten Produktionen, eine bemerkenswerte Leistung, wenn man bedenkt, wie lange er schon dabei ist. Wenn man sich in die richtige Stimmung versetzt, fragt man sich, ob alles, was er bisher veröffentlicht hat, eine einzige Vorbereitung auf dieses Album war. In der heutigen Zeit ist es auch erfrischend, ein reines Ambient-Techno-Album zu hören, das absolut nichts mit „Boards of Canada“ zu tun hat.

Mit anderen Worten: Es ist ein Meilenstein für das Label und das Genre.

Andy Kellman

Copyright 2025 TiVo Corporation

The idea of an acoustic album had long been dismissed by the artist himself. "I"m not a guitarist; I use the guitar to compose", he used to say, reluctant to expose this level of vulnerability. However, in 2023, during the Kyotophonie Festival in Japan, organized by photographer Lucille Reyboz and encouraged by producer Laurent Bizot (No Format!), something changed. Surrounded by the spirituality of a Zen temple and supported by his loyal musicians - Badié Tounkara on ngoni and Mamadou Koné on percussion - Salif agreed to bare himself like never before. The title So Kono, meaning "in the room" in Mandinka, reflects both the simplicity and depth of this album. Recorded in the intimacy of his hotel room, So Kono captures the very essence of Salif Keita: a powerful voice, shaped by trials and travels, elevated by minimalist arrangements. Blending reimagined classics and new compositions, this album resonates as a sincere and timeless work, reaffirming why Salif Keita is considered one of the greatest living singers, across all cultures and continents.

Just imagine heat wave of the night falling gently on the coastline and being chased away by the breeze of the Pacific. Through abandoned warehouse area you are following the distant sound and speeding up your pace excited and positive. The sound is getting thicker and louder. Yes, you are sure it is Highkin' and his friends are throwing another unforgettable party tonight...
The third STUDIO CLUB release presents Highkin' (Marble, Irenic) a dynamic force in Southern California's party scene and a rising Moscow club star Belogorodski.
The record is imbued with love for classic deep house music, exclusive private parties vibe and that special authentic magic they entail.

EC Underground is back with more inquisitors of low-end heavy sounds on Bass Scene Investigation vol 1 and again digs deep into the worlds of electro, techno, breakbeat and IDM. The compilation kicks off with the skittish percussive patterns of Illektrolab's 'Making Heads Dip', then heads into moody ground with ADJ, Pablo Funk brings some menacing synth work and Errorbeauty gets all weird and trippy with some mad electronics. Francois Dillinger offers a dystopian electro sound full of irresistibly jacked-up drums. A fine investigation indeed.

Komatsu's 5th album is no fluffy pancake! 8 heavy, filling and delicious tracks will blow your mind and boost your immune system. Now as a three-piece band, their sound has opened up to show new layers of fuzz, rhythm and groove. Lyrics range from deep topics like the universe, rebirth and dystopia to fatcamps and female parts. Komatsu is proud to add some extra grease, grit and crunch to your morning oatmeal so you can face anything the world throws at you!

Green vinyl, limited to 350 copies. Komatsu's 5th album is no fluffy pancake! 8 heavy, filling and delicious tracks will blow your mind and boost your immune system. Now as a three-piece band, their sound has opened up to show new layers of fuzz, rhythm and groove. Lyrics range from deep topics like the universe, rebirth and dystopia to fatcamps and female parts. Komatsu is proud to add some extra grease, grit and crunch to your morning oatmeal so you can face anything the world throws at you!

Golden Ratio are Simon Stoll & Gary Clegg

It all started as a lockdown project in 2020 with Gary and myself exchanging ideas down the ether which grew into a body of work that we were excited to take further. We continued with the online process and enlisted some musicians we knew to fill in the gaps. Initially, this featured Jake Telford on sax and flute who is also credited with co-writing Morphology and Natural Law and Andre Espeut vocalist also credited with co-writing Stand Up & Fight, One Family and Wake Up To The Day. As restrictions lifted we were able to get some drummers into the studio: Filippo Galli (tracks 1 & 2) and George Addison-Atkinson (tracks 3-9). Other musicians featured are Kevin Davy, trumpet on Breaking Through Time, Gianluca Chiarella guitar solo on Morphology and Mohammed Nazam guitar on One Family.

In terms of previous experience, Simon was a member of Mamas Gun in their very early days before concentrating on a business career but has actively played with musicians from the north London music scene since the late 90’s. Gary played on the dance mix of Lazy by David Byrne produced by DJ Mark Wilkinson, played for Funkshy (Tansay Omar project), played in Charlotte Kelly’s band (from Soul II Soul) and was resident bassist at the Iceni club in the 90’s.

It’s long been our dream to have our own project featuring original compositions and dedicated to the style of music we love, our routes being the jazz funk and acid jazz scenes from the 70’s, 80’s and 90’s. We now have the opportunity to try and realise this dream and feel your label would be a perfect fit for us as it echoes and promotes those same musical influences.

After months of developing elaborate acoustic guitar versions of the songs for what he at first intended to be a solo acoustic guitar album, a burst of inspiration hit and he rearranged the music for electric guitar, where he has long been at home with his two decades of work as composer and bandleader for morphing avant-prog outfit Ahleuchatistas. What Parish ended up with are arrangements in his intuitive, intense, and intimate style, more directly aligned with his flagship electric band. While acoustic guitar produces resonance through tactile manipulation, the electric guitar harnesses the flow of electricity, allowing Parish to cut a more urgent and colorful slice through our historical moment with these haunting melodies which were first formed under the most ruthless of working conditions, defiantly affirming the creative human spirit's ability to burst forth from any circumstances.

After months of developing elaborate acoustic guitar versions of the songs for what he at first intended to be a solo acoustic guitar album, a burst of inspiration hit and he rearranged the music for electric guitar, where he has long been at home with his two decades of work as composer and bandleader for morphing avant-prog outfit Ahleuchatistas. What Parish ended up with are arrangements in his intuitive, intense, and intimate style, more directly aligned with his flagship electric band. While acoustic guitar produces resonance through tactile manipulation, the electric guitar harnesses the flow of electricity, allowing Parish to cut a more urgent and colorful slice through our historical moment with these haunting melodies which were first formed under the most ruthless of working conditions, defiantly affirming the creative human spirit's ability to burst forth from any circumstances.

"Resonantia" is a project that aims to promote visionary sound to the realm of techno music. Four innovative artists, united by a shared passion for sound design exploration, have fused in this collaboration to transcend traditional expectations and create a unique sound experience.
Drawing inspiration from the vibrant underground scene, Resonantia weaves together intricate melodies, driving basslines, and hypnotic beats, resulting in a sound that is both powerful and emotive. Each member of the collective contributes their expertise, blending diverse influences from minimal to industrial techno, crafting an unconventional EP.

Legendary songwriter Guy Clark’s iconic album, Dublin Blues, shines in a new light with this remixed and remastered reissue. The album was remixed by Miles Wilkinson, its original co-producer and engineer, at Compass Sound Studio in Nashville (formerly Glaser Sound Studio, aka “Hillbilly Central”). It includes liner notes written by Wilkinson and Clark’s former touring partner, the acclaimed singer-songwriter Darrell Scott. Featuring Sam Bush, Travis Clark, Donivan Cowart, Rodney Crowell, Ramblin’ Jack Elliott, Nanci Griffith, Emmylou Harris, Jelly Roll Johnson, Kenny Malone, Kathy Mattea, Suzi Ragsdale, Darrell Scott, Verlon Thompson, Jonathan Yudkin.

On Katelyn Clark and Mitch Renaud's »Ouroboros,« astronomical and astrological phenomena, concepts and symbols such as the Great Year or the Eternal Return serve as the starting points for sonic explorations and experimentations. Focusing on a uniquely tempered range of frequencies, from low-enddrone rumbles to airy pipe swirls, the duo develops a minimalist and highly evocative sonic universe on their debut album for Hallow Ground.

Working as composers, improvisers and curators in Canada's vibrant experimental and early music scenes, Clark and Renaud began developing »Ouroboros« through extensive improvisation with a reduced setup. Clark, who has worked extensively with historical keyboards since her studies in Amsterdam and Siena, played a small pipe organ modeled after a 14th-century instrument while Renaud brought a modular synthesizer and his interest in feedback systems to the collaboration. Later, the duo further refined their artistic dialog and the sonic interactions of the two instruments through the shared space of a two day recording session in Vancouver. Subtle crackling, acoustic beating and other (psycho-)acoustic effects in five pieces document this encounter, giving the music a profound physicality while hinting at the bodily presence of the two collaborators.

Just as the cyclicality of natural phenomena or the repetition of planetary movements is both a scientific fact and of the cultural imaginary, the sound worlds of »Ouroboros« are fundamentally rooted in time and space while transgressing the idea of a »here and now« through their conceptual links to geological and planetary time. The interplay of portative organ and modular synthesizer, which merge fluidly and in ever-changing ways, leads to a kind of circularity, a timelessness, a no-time. At the same time, the movements and subtle changes undermine the idea of repetition in the negative sense. After all, the Eternal Return, as Gilles Deleuze writes in regard to Nietzsche, is not the return of the same but a repetition of repetition. The only constant is change, the production of new intensities, of new forms of life – and of new frequencies.

Some time back just after then and before now, i was approached to work up a rough working script for a Punk Rock film, based on a boys entre into the whole Punk Arena and how it would affect his life. A loosely updated tale somewhere along the lines of a ‘Punk Quadrophenia’.

After many stop / starts and we are waiting for funding… etc, etc... and changing of ideas. I thought I better just get on with it. I worked up twelve tracks and put an opening script together for approval. Like some of the best made plans, as time moved on, so did the theme and the initial rush of enthusiasm rolled on to somewhere else.

A shame but lurking in the back of Punk Art studios the tapes were found and a bent up copy of the working introduction script. So here it is in all its rough and ready glory. Who knows what might have been but here is some of what could have been… hope you enjoy the idea.
Mal-One

Rolling Bahamas makes its debut here with a first release from Rock Star Heroes who offer up a couple of hard-to-find and previously unreleased instrumentals of rock classics. These are perfectly designed for the club and collide rock, funk, disco and more into fresh forms. Opener 'Undercover Of The Night' is raw, hard-hitting groove magic with organic percussion and live drums laden with funky guitar riffs and lively chord work that brings the whole thing to life. On the flip is a rework of 'Miss You' which still has all the swagger of the iconic original with sultry harmonica luring you to the floor where the masterful drums and guitars will keep you moving.

Crystal clear vinyl. 'PO$T AMERICAN' is the second full-length album by Dead Pioneers. Written in February and recorded in July, it preempts the 2024 American election but wraps up the fears and frustrations as eloquently and, crucially, humorously as the band's 2023 self-titled debut. "Currently, we are amidst the gross existence of capitalism, colonialism, white supremacy and the many oppressive forces that have come to inform everything around us" says vocalist and songwriter Gregg Deal. "The title PO$T AMERICAN informs a collective disenfranchisement and disillusionment to the so-called American dream, while moving forward with hope of a desired designation of unity outside those that would use us for their own capitalistic power grab." The aural palate is broadly the same, but it feels expanded, stronger somehow: drawing on the confrontational writing of Rage Against The Machine, the unapologetic voice of Chuck D and Public Enemy, the storytelling of Johnny Cash, the evolution of IDLES, and punk stalwarts including Black Flag, Rollins Band and Dead Kennedys. Overall the resulting feeling across the new album is one of cautious optimism: "Although we didn't expect the political relevance to become more relevant, we have no illusions to the American dream, or to where we seem to be going. But we have hope that we can get to a better place for people to have what they need." It is an album that speaks to and for this precise time and place; that perhaps could not exist at any other time. It is an album for now.

Spandau20, an imprint named after the Western Berlin district and focused on artists from the area, delivers techno in all diverse forms - from warehouse and electronic peak time beats to breaks and IDM, balancing the old and new school sounds flawlessly. With a focus on vinyl releases, for the collectors, Spandau20 has lately also focused on its label nights, with showcases at Fabric, Bassiani and many others. The label's 10th release features 10 tracks that epitomise the musical diversity of Spandau20 and the progressive musical mindset of its roster, calling on the label favourites and Spandau natives to deliver brand new and exciting music. This special release even features one track that all artists have worked on together: 'Come Closer', a swarming, slithering beginning featured as the VA's opener. Its barely coherent female vocal echoing amidst a cacophony of demon-like effects. The chilling ambience captured at the offset transcends into the first full length track by Elli Acula, 'Floating Eyes', a cur characterised by an authoritative, pounding bass featuring calculated percussive rolls and metallic overtones to make for a face-scrunching opener to this devilish collection of works. FJAAK follow for the first of twin cameo appearances, partnering up with fellow live supremo and hardware aficionado KiNK. On 'Overbridge' the trio deliver a cavernous, rolling number driven by a deep thrumming bass in addition to a razor-edged lead synth, and pulsating technopattern. Dajusch is known for incorporating his years of classical study in with his immersive musical style - and with his VA effort the Berlin native neatly showcases this. Easing the energy slightly, 'Move' escalates from its warm, melodic intro into rumbling goliath of a beat comprising a looping, slew of gassy harmonics. The momentum of the release shifts considerably with the introduction of acutely versatile producer, DJ and sound artist Claus. The artist from Spandau leans his track 'Bloomscroll' towards sparse, dubby sonics in which he intricately ties together to form churning, burgeoning soundscape. FJAAK jolt proceedings back into the techno groove with their signature blend of arresting sub-bass and reverberating rhythms, which come thick, fast and heavy on 'Jackfruit'. The abstract wonder of Anna Z's broken-beat like stylings is fully explored on 'Icy Liq'. It's outlandish and amorphous in its execution, causing a clattering percussive chaos that's choicely pieced together by the modular-extraordinaire. Nikk stealthy moves into breaks territory with his track 'Down In The Shadows', packing a trap-like snare with an acid-flecked melody and dawn-breaking, dream-like textures. The penultimate track on the VA is 'Tufted'. J.Manuel expertly employs a chorus of robot-like sonics that course through a short-circuiting low-end to produce a pacy, inescapable journey via a whirling, merciless beat. He is joined by the legendary producer Tobi Neumann for their menacingly ambient number titled 'Fennec.' In parts a nod to UK dubstep, the duo concocts a fierce admixture of styles bolstering tribal-like components with industrialised overtones and methodically crafted drum-fills.

Doomed Utility is the debut album by Alex Wang, a bass-heavy, noisy, and abstract work that blends industrial and club music into an unsettling soundscape.

Sound existed before there were human ears to hear it—ancient and eternal, as silence itself. In the first few hundred thousand years after our cosmos was born, a deep hum traveled through a plasma of hot particles, eventually finding its way into our machines. Now, computers weave a web of sound around us, abstracting from meaning, pleasure, or melody, crafting disharmonies that dig into us raw.

In Doomed Utility, that primordial hum resurfaces—fractured, raw, and discordant—pulling us into rhythms of exhaustion, exhilaration, and annihilation.

This is a sound that doesn’t merely enter us; it claims us. It lingers, waits—hungry. It tears through cognition and rips through bodies. We may have no obvious use for it, but it has a use for us.

Computer sound perpetuates itself through our ears, our thoughts, and our human culture. It recalls all things, binds all things, moves all things. We are its resources, its vessels for messages not yet decoded, and for purposes yet unknown.

180g audiophile vinyl reissue of guitarist John Abercrombie and pianist Andy LaVerne's 2003 duo album 'Timelines', which is appearing on vinyl for the frst time 40 years ago Bill Evans and Jim Hall recorded two brilliant duo albums called 'Intermodulations' and 'Undercurrent'. Andy Laverne and John Abercrombie whose collaboration dates back to the late 1960s have been inspired by the Evans- Hall recordings and have been experimenting with the format.

Andy LaVerne remarks, "Over the years we have collaborated as a duo many times in concerts, club dates, workshop sessions. I guess Bill and Jim set a wonderful example to us of what could be achieved by the piano/guitar instrumentation".

This album - with 8 of the 11 original tracks making the LP cut - though is neither recreation nor copying of the original material, is an evolution of the predecessors.

John Abercrombie: guitar
Andy Laverne: piano
Recorded September 2002