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Enjoy all of Old Blue Eyes' classic songs on cool white vinyl.

* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.

* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.

* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.

* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.

* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.

* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.

* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)






aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
















DISC 2

Gut zwei Jahrzehnte sind vergangen, seit Mary J. Blige mit ihrem Debütalbum die R&B- und Popwelt revolutioniert hat, und noch immer schlägt die Erfinderin des Hiphop-Soul aus New York mit jedem Album neue Wege ein und erfindet sich neu: Für ihr kommendes Studioalbum The London Sessions ist die Königin des R&B wochenlang ins Reich der Queen eingetaucht und präsentiert nun ihre ausgelassenen Session-Recordings mit UK-Senkrechtstartern wie Sam Smith, Disclosure, Naughty Boy und Emeli Sandé.
Auslöser für ihren verlängerten Aufenthalt in London waren gleich zwei inspirierende Kollaborationen: Zunächst veredelte Mary mit ihrem Feature-Auftritt bei - F For You' den Track des jungen UK-Duos Disclosure, und wenig später stand sie auch noch für einen Remix des Rekord-Hits - Stay With Me' mit Sam Smith im Studio. Da sie von der Energie und der musikalischen Vielfalt, die in der britischen Metropole auf sie wartete, regelrecht umgehauen war, fasste die neunfache Grammy-Gewinnerin kurzerhand den Entschluss, für einen ganzen Monat in diese Szene einzutauchen und ihr neues Album in den legendären RAK Studios aufzunehmen...
- Ich wollte mich hier nicht nur wie ein Gast, sondern wirklich heimisch fühlen für diese Zeit', so Blige über die Arbeit an The London Sessions, zu der sie neben Disclosure und Sam Smith auch Emeli Sandé, Naughty Boy, Jimmy Napes, Eg White und Sam Romans als Gäste begrüßen konnte, wobei der Produzent Rodney Jerkins als Executive Producer hinter den Reglern stand. Nachdem mit - Right Now' ein erster Vorgeschmack erschienen war - in diesem Fall machen Sam Smith, Disclosure und Mary gemeinsame Sache -, schrieb MTV bereits: - so innovativ wie schon lange nicht mehr.' Kein Wunder, denn man merkt sofort, wie sehr die 43-Jährige von der neuen Umgebung inspiriert wurde: - Das gesamte Album klingt ausgelassen, nach guter Laune. Es war eine wirklich grandiose Erfahrung, in die Londoner Szene einzutauchen.'

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special.

Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too.

Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet.

We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word.

Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths.

Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work.

There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

16 Hot n' Swingin' rot n' roll party shakers & quakers groovin' ALL NITE LONG!!!

Say what's up Mac? I hear you're having yourself a lil' party? Now you gonna have a swell time let me tell ya. You got the babes, the booze, delicious food, but a party ain't nothin' unless you got the tunes!

Now listen up, and listen up good. For the big sound you need the big pieces. And for the hottest sounds around, I'm your man. All the top dee-jays - they all go through me. Rex, Mad Mike, Wolfman Jack - I'm their all-time #1 go-to main man when it comes to killer diller rockin' boppin' dancefloor bangerz. The Monkey, the Twist, the Hully Gully and the Shing-a-Ling - I got the tunes to make y'all swing.

I got sides that'll make you sway. I got spins that'll go your way. I got the platters that matter. The discs with no risk. Trust me with the tunes to make 'em swoon.

So whaddaya say? You wanna go my way? Let's have a ball and a swingin' part-tay. But remember, you gotta go through me.

2026 Repress

KiNK & Raredub launch new sub-label Raw on SHDW's Mutual Rytm with bold two-tracker 'You And Me', backed by a VIP remix of 'Time To Change' from Paul Woolford aka Special Request.

Following their standout debut on Spectra with 'Time To Change', Bulgaria's finest dance music export KiNK & Raredub return to the Mutual Rytm universe to launch the label's new sub-series: Mutual Rytm Raw. Their latest release, 'You And Me', marks the next step in their collaboration - two stripped-back yet anthemic cuts that embody their signature sound: "Rude Boy Techno", a fusion of techno's drive with the swing and grit of UK Garage. Both versions of 'You And Me' are built for the floor, combining sharp percussion, catchy vocal hooks, and powerful low-end pressure - minimal in structure but rich in character and groove.

Rounding off the release is a standout VIP remix from Paul Woolford aka Special Request - one of his infamous 'Variation in Production' versions - offering a stripped yet high-impact reinterpretation of KiNK & Raredub's previous single 'Time To Change'. Raw, rolling, and unmistakably shaped by his UK Garage-influenced style.

Zum ersten Mal seit Jahrzehnten erscheinen DJ Shadows legendäre Mo’Wax-Singles wieder offiziell – in einem umfassenden 8-teiligen Vinyl-Set, das mehrere Stunden bahnbrechender Musik enthält.
Die Aufnahmen wurden in den Abbey Road Studios von Miles Showell halbspeed-remastered und klingen so klar und kraftvoll wie nie zuvor. Die Box enthält zahlreiche bisher unveröffentlichte Mixe und Edits sowie eine exklusive Bonus-LP mit den ursprünglichen Demos von vier Tracks – ein einzigartiger Einblick in die Entstehungsgeschichte des Shadow-Sounds.
Abgerundet wird das Set durch neue Fotografien von Brian Cross (B+), DJ Shadows langjährigem visuellen Wegbegleiter.
Ein essenzielles Sammlerstück für Fans, Vinyl-Liebhaber und alle, die die Wurzeln moderner Beat-Kultur feiern wollen.

"This box wasn’t made for the casual listener,it was made with the hardcore fan in mind. I’ve always felt, if something is worth doing, it’s worth doing right, and every step of the process was
made with this philosophy firmly in mind. I had fun locating and resurrecting these songs, some of which still feel close to my consciousness as though they were made yesterday.”
-DJ Shadow

Born in Wroc?aw. Known and liked as a member of the Wroclaw-based duo Skalpel. Much less known and liked as the author of several solo albums that illustrate and explore different states of consciousness: Breslau (solo debut released on Ninja Tune) - the frenzy of war, Dream Logic - the meanders of dreams, Delirium - psychedelic hallucinations, Fyodor - religious exaltation and ethical illusions. On the album "Refleks", he explores the state of consciousness of an old digger and beatmaker. He lives in Wroclaw.
About Refleks:

Refleks is tender and free. Of the two meanings of this word in Polish, I choose the one that is a reflection of light on a river. Hypnotic and never monotonous, brilliant and charming, with depth slumbering beneath. The whirlpools we encounter on the album are only slightly cunning; they are rather playful. Although one can look into the abyss, it is not greedy-it allows you to stay on the shore and does not consume you unconditionally.
In some tracks, it even throws you out: you think you're still riding that slide-a tunnel you think is endless-but it ends safely and suddenly in the grass. In the plush. As if a momentary wind carried you away, only to stop at the least expected moment, finding yourself in a completely new yet seemingly familiar space-time-at home, which is not yours, yet not foreign either. While the titles clearly suggest Wroc?aw-based situations, in my opinion, we are moving on a higher level of intimacy and abstraction. On the waves of the ether, the forgotten element of everything that cannot be measured, weighed, or counted. What we know for sure, but might only seem so to us. In the hospitable cosmos of a well-settled head.

Eine Sammlung von Songs, die von Nina Nastasia und Jim White von The Dirty Three geschrieben wurden. Ninas einzigartige Stimme bringt Songs voller Hooks über Liebe, Sehnsucht und Verlust hervor, während Jim Whites Songwriting - bekannt geworden durch seine Zusammenarbeit mit Leuten wie Will Oldham, Nick Cave und Smog - ein seltenes Songwriting-Talent zeigt und ein Duell und Duett zwischen zwei legendären Künstlern schafft. Nachdem es fast zwei Jahrzehnte lang vergriffen war, ist ,You Follow Me" endlich wieder auf Vinyl erhältlich. Diese Neuauflage von ,You Follow Me" wurde 2025 von Josh Bonati für Vinyl remastert und ist auf limitiertem transparentem gelbem Vinyl gepresst.

Over the last two decades, The Field has refined a language of repetition that feels not assembled but uncovered. His loops don’t just cycle; they gather weight over time, so the tracks seem set in motion rather than composed – patterns established early, then
gently altered, their emotional temperature shifting almost imperceptibly.
On this five-track EP for Studio Barnhus, the Swedish producer’s first solo release in 8 years, The Field returns to the sonic architecture that defined his seminal debut From Here We Go Sublime, but with a (dare we say
Studio Barnhus-esque) looseness that allows the structures to breathe.
Tracks like In Our Dreams and 333 706 move forward on meditative chords, harmonies stretching their reach until the tracks feel elated by their own momentum.
The B-side tilts the frame. Another Day introduces some melodic immediacy, folding a tender vocal presence into The Field’s glittering matrix of sound, softening the grid without dissolving it. Now You Exist is a grand finale radiating with restrained euphoria.
The Field’s music never insists, it just draws you in and keeps you there. In a landmark crossing of paths for the Stockholm label, Studio Barnhus proudly presents Now You Exist, out May 15 on vinyl and all digital platforms.

The world of discovering Soul music and artists can lead to sheer moments of jubilation. The thought of igniting a long lost sound, reviving the energy of a once exuberant individual . But not every story that's told is filled with joy. Some are peppered along the way with struggles and heartache. Over time artists have battled with over powering label owners, record executives who just don't back what you do. The story of Tommy Hill is one such story. Tommy along with friend and longtime collaborator Ricky Tarbo had a deal with Motown records back in the early 1980's which turned sour very quickly. His release "Flame"/"Super Star Of Love' was dropped pretty quickly with no promotion and record boss Sylvia Rhône calling the shots within the duo questioning skin colour within the group and even trying to get vocals wiped off the release to sabotage it.

This said the single didn't amount to much and nothing else was recorded for Motown records. The duo did record some 4 demo's in LA before Tommy headed to re-record them again in New York circa 1982.

The A side has never been released until now, which is such a crying shame as the quality is so damn good. It's an uptempo boogie cut called "All My Love" which we gave a sexy 45 mix so you get some slamming synth work half way in. Tommy Hill's vocal range is nothing but astonishing. Just check out the 2 step ballad of "Can't Get Over You", which was recorded and released back in 1980 by The James Simpson penetration Band written by Tommy Hill, who went back into the studio 2 years later to give the song much more depth not only within the production but also to his vocal range. Tommy Hill headed back to LA after not securing a record deal and a few years later tried to get this singing career back on track. Like many of the artists who have moved on to a higher place Tommy succumbed to his own mental health issues and took his life. We hope this record does you proud Tommy Hill

BABY BLUE COLOUR VINYL

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

Mercurial Swede Axel Boman debuts on Aus Music with four spellbinding deep house beauties

Swedish artists pbeatgirl and Joakim Åhlund & Jockum Nordström feature on one track each
Axel Boman has brought playful charm to the underground for nearly two decades. His colourful, emotive sound marries melodic whimsy with warm, cuddly grooves and is underpinned by invention and experimentation in sound design, rhythm and mood. The Studio Barnhus co-founder is an artist who can make you laugh and cry at the same time, as continually shown across more than 20 EPs and four full-length albums on a tasteful array of labels. He strides into 2026 with a first EP for Aus that embodies everything that makes him easy to love and hard to pin down.

First up is 'Night Blooming' feat pbeatgirl - a provocative figure in Sweden's post-pop underground. The sensual late-night lullaby has soft drums and even softer spoken words whispered in your ear. Add in the dreamy synths, and you have perfect house hypnosis. 'Someone Stop Me' slows the tempo but ups the texture with raw, tumbling drum loops, incidental guitar licks and sustained pads that help you zone out and gaze into the distance on a summer's afternoon.

'Svalor Radiosignal (Axel's Dub)' features Joakim Åhlund, who is currently on tour of Australia with his band Les Big Byrd, and is also a guitarist and lead singer in the Caesars band he founded, as well as being a prolific producer. World-renowned multi-disciplinary artist Jockum Nordström works across painting, sculpture and collage and also features. There's a signature Boman innocence and charming naivety to the melodies here. They leave wispy, painterly trails above the smooth, dubby groove and fill you with warmth and comfort. Closer 'Spooky' journeys later into the night with a more rickety, edgy mood, but beautiful, shape-shifting synths are like a tender hand guiding you into darkness.

This is Axel Boman at his most intimate and expressive, a quietly powerful EP for heads-down moments and after-hours warmth.

Take Me, I’m Yours is the first collaboration album between Alan Abrahams and Jan Jelinek. Released through the latter’s faitiche, it builds upon multi-layered vocal sketches by the former. The Paris-based artist, primarily known for his work as Portable and Bodycode, supplied Jelinek with multi-layered song sketches that the German artist subjected to a rigorous process of manipulation, excavating the ambiguities of the original material and transforming its rhythms into subtle pulses. Take Me, I’m Yours is neither a typical Abrahams record nor a classic Jelinek album—it is something third, mediating between the physicality of the voice and the abstraction of electronic sound design.

The two had crossed paths before really getting to know each other after Abrahams invited Jelinek to play at one of his Süd Electronic parties. The idea of a collaboration emerged slowly. “It started as an experiment, and over the past few years grew from a few tracks into this album,” says Abrahams. He describes recording the basic material as a “tantalizing” process, not knowing how Jelinek would transform his material, some of which was based on wordless chanting, while other tracks were working with lyrical content. However, their mutual trust allowed Jelinek to remove the harmonies, radically reduce the rhythms, and concentrate on Abrahams’ voice.

Jelinek heard something “fragile” in this voice, “moments of doubt and dark premonitions.” He points to Forever as an example. “Alan’s original song reminded me of classic vocal house, but his voice seemed to almost break,” he says. “This contradiction made the piece even bigger, because we hear a singer in the moment of an awakening.” He further accentuated such tensions through arrhythmic synth modulations and time-stretching algorithms, while also adding concrete sounds from a variety of sources. With its dedication to both transforming and amplifying the emotional qualities hidden within Abrahams’ pieces, Take Me, I’m Yours functions as a dialogue between those two singular artists.

For well over a decade, MONOLORD have caused mass riff hypnosis with longform epics steeped in repetition, volume, and heaviness. One of heavy music’s most consistent and beloved bands, MONOLORD are gearing up for their next chapter with a new album titled Neverending. In looking for a new take on the genre, MONOLORD approached the legendary producer Sylvia Massy, known for her work with Tool, System of a Down, and Johnny Cash, among many more. The payoff from this new process is undeniable. Neverending feels like the culmination of 13 years of heavy, molten music, with a keen eye towards creating a sharper album. “The recording of this album is an example of the spirit of MONOLORD’s camaraderie,” says bassist Mika Häkki. “We’ve looked back and seen for the first time how much we have done as a band collectively, and realized what an intense 13 years it has been.” "The lyrics on this album are more personal than before because I went through some major life changes in the last couple of years,” guitarist/vocalist Thomas Jäger says. “I usually write about religion and how people are superstitious, but this record is more about relationships between people. But it’s not all about me. Sometimes I’m writing from another person’s perspective.” Neverending’s lead single “You Bastard” offers listeners a sharp contrast: A propulsive groove offset by lyrics about suicide. There’s two sides to suicide,” Jäger points out. “There’s the person who commits suicide and the people who gets left behind...The choruses represent the person left behind, and that person is calling the other a bastard—but it’s not pointing fingers or saying, ‘You suck.’ It’s more like, ‘You left me here with all the bullshit.’ It’s an understanding that life is not easy." Though it might not be immediately obvious, album opener “Iodine” was inspired by 70's rock epics like Lynyrd Skynyrd’s “Free Bird,” The Eagles’ “Hotel California,” and Led Zeppelin’s “No Quarter." Elsewhere, album closer “It’s Neverending” is the first MONOLORD song that Jäger doesn’t sing on. Instead, the death-metal style vocals are performed by former Entombed bassist Jörgen Sandström, (also of Grave, Domedagen and Firespawn.) 13 years on, MONOLORD’s path takes a new turn, and Neverending becomes the band’s most befitting album title. “It's been a wild ride and still is,” says drummer Esben Willems. “I've spent a quarter of my life in this band. Looking back, I'm incredibly proud of what we've accomplished along the way, and in many ways, this album feels like the essence of everything we've done so far. My mindset is the same it's always been, to be the absolute best the three of us can be.”

Purveyors of deep-tinged electronic grooves since 2008, Ornate Music returns for their next analogue emission. Dropping four refreshingly shaped cuts from mysterious Bolton boy: Jimmy The Hand. A seriously talented artist and shaper of off-kilter sonics, Jimmy works his alchemy in all the right places on this impressive collection of creations. Punchy drums and uplit mood colour the way in opener 'Nail Varnish'', as 'Delve Deep' opens the Arps to crunched drums, setting the mind to cycle with impressive effect. Over on the flip, rising pads and rhythmic shuffle fuse with warped effects as you skip through the sunny climes of 'That's More Like It'. Last but not least, you're met with the RAW punch of 'Breath': a full complement of Millsian influenced psychotropia that leaves you screaming for more, you've been warned.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

Step into a candy box of sound: sweet Italo-infused house and tangy, bass-heavy breaks. Some tracks hit like hard candy, daring you to bite, while others are sticky and irresistible, gluing you to the dancefloor. B.Visible tasted all the sweet treats without losing a tooth, but the synths took a proper beating. On this DJ tool, you'll find a track for every part of your set, with a package that nods to '90s electronic music without losing its timeless charm.

B.Visible is a Vienna-based DJ and producer. His sets blend danceable beats with a strong musical vision - ranging from disco and house to breaks and experimental electronics, complemented by rare vinyl discoveries. Each selection is surprising, versatile, and curated with great attention to detail. His productions are just as multifaceted as his DJ sets: warm drums and organic textures meet carefully crafted electronic elements designed with the dancefloor in mind. The result is a distinctive signature style - accessible, diverse, and independent. His music is regularly featured on Austrian radio stations such as FM4 and receives international
support from BBC DJs including Gilles Peterson, Tom Ravenscroft, and Don Letts. B.Visible's music thrives on surprise and depth - whether in the studio or on stage, it always unfolds with a unique dynamic, drawing audiences in from the very first moment.

Chins For Lefty is the debut album and first recording by Gichard, a new duo chronicling the absurdities of end-stage capitalism and mouldering social rituals from their vantage point in Glasgow, Scotland. Recorded primarily in the band’s home studio straight to tape, Chins For Lefty combines gorgeous, ramshackle melody, DIY kosmische punk, drum machine + synth and, in vocalist/lyricist Lisa Jones, an absurdist commentator on the human condition as it navigates the anxieties of the modern world. Instrumentalist Chas Lalli’s swirling music accompaniment stitches an evocative mix of musical styles, the ragged wind beneath the lyrics’ wings.

Although the duo first collaborated in their previous group Dragged Up, their disparate musical and artistic backgrounds make for an alluring mix in Gichard. Lalli has spent the last 20 years in the Glasgow underground, most notably in the noise rock group VOM, while Lisa Jones’s practice was in poetry and spoken word. Beginning as co vocalist in her previous band, in Gichard her lyrics are centre stage; the vision concocted alongside Lalli amounts to a total world-build.

Chins For Lefty scans almost like a novel, with each track elucidating a skewed universe that bears only some resemblance to the one you and I partake in. Like all works of fiction Gichard’s songs are rooted in reality and the lived experiences of its authors, but here characters are exaggerated, social mores and habits are pulled apart to reveal their inherent alienness. Universal emotions are laid bare, the bright light of anxious examination searching out every hairline fracture in our relationships. Distorted and cracked, the mirror that Gichard hold up to our world is also pretty damn funny.

Opener Cholesterol Test launches an expansive, cosmic guitar and synth intro that belies the Tascam-tape recorder it was recorded onto, like a Chromatics cut substituting anxiety for overt sexuality. Here Jones intones an apology to a non-responsive recipient, in the medium of a long voice note forensically deconstructing an interaction from the night before. Over punk guitars and shuffling, lo-fi drum machine splutters, the narrator in Asking The Apes “prefers things to people” before being taken hostage in the city zoo to confess an obsession which consumes the protagonist, ending with the immortal two liner “I sleep in a cocoon of old newspapers at the end of your street / And I think I have been fired from my job,” On album standout Posthumous Hologram, the narrator is faced with a human simulacra, in this case an undead pop star; the face of the encroaching technological singularity. Yes, it does requests, it can do My Way in 200 different language options. But what are the implications? While you’re left pondering, the alternating deadpan verse delivery and undeniably catchy chorus keep you company.

By the time Break Up With Johnny Dogbirth rattles into view, the band are satirising a suburban inanity blown up to cartoon proportions, soundtracked with a drawled musicality that recalls Rowland S. Howard’s post-Birthday Party balladeering. This approach is furthered on Human Resources: over an angular guitar+bass track, Jones’s short story recalls Dry Cleaning’s erudite lyrical post punk. On Soft Face, Lalli’s guitar and drum machine are swathed in echo and delay, as Jones dissects dating rituals with a west of Scotland drollness. Hamming It Up brings a porcine perspective in a short story that begins with the line “I was breastfeeding discreetly in the service station. She didn’t mind.” What follows is a passage punctured with canned laughter and a narrative involving tribute acts, modern farming techniques.

Brilliant first single Your Private Hell closes the album, the closest the group get to earnest perhaps, filtered through a surreal central Scottishness. While Your Private Hell might seem like a sardonic take down of romance, perhaps it’s the very distillation of love in all its awkwardness, selflessness and weirdness. Here there’s a distinctive Glasgow-ness to this doomed romance: the protagonist falls for an outsider, offers them cheap jarred hot dogs and carbolic soap (the infamous, excoriating soap dished out in schools and government buildings throughout Scotland), offers to cover up a murder, stalks them in the all-night Spar. It’s a short story of intrigue, murder and the irresistible pull of self-sacrifice to share in someone else’s suffering. If that’s not love, what is it? You can see this vision mapped out in black and white on their video for 'Your Private Hell'.

Recycled purple cassette tape The monster-collecting open-world RPG "Cassette Beasts" is delivering a furious 80's synth rock meets British indie soundtrack composed by Joel Baylis and featuring shooting star Shelby Harvey on vocals. This soundtrack is taking you on a journey across the mysterious island of New Wirral - from lo-fi acoustic ballads to all-out headbangers! By the way, welcome to New Wirral, a remote island inhabited by strange creatures you've only dreamed of, nightmares you hopefully haven't, and a cast of brave folks who use cassette tapes to transform for battle. To find a way home you'll need to explore every inch of the island, and record monsters to your trusty cassette tapes to gain their abilities!

Full colour sleeve with rare use of the Italian only movie artwork.

A few years ago I issued the soundtrack to Virgin Witch, the score to an underground 1971
kinky British London / posh stately home horror that seemed more like an excuse to show as
many racy cars and devilish nude scenes as possible. This fleapit film was written by Hazel
Adair - the writer of legendary long-running TV series Crossroads, and her business partner at
the time Ken Walton (yes, the wrestling commentator). Virgin Witch was cheap and successful
enough to allow the whole team another go at the sexploitation game through their newly
formed production company Pyramid Films. Sex Clinic was the quick follow up; I say Sex Clinic,
the initial cinematic title was Clinic Xclusive, which was also called With These Hands, which
was also called La Masseuse Perverse. This film also came out in 1971 and they used the
musical services of Ted Dicks once again. Dicks had originally met Adair in 1960 through a cast
member performing in his first musical, Look Who’s Here.

If you are not aware of the great Ted Dicks, his quick bio reads as follows: born London 1928,
was educated through both grammar and art school and after National Service flirted with both
art and music. He worked with a series of very talented song writers - including Barry Cryer -
finally sparking properly with writer Myles Rudge. Together “Dicks and Rudge” had a hit with
their musical And Another Thing which starred Lionel Blair and Bernard Cribbins. Their talents
were spotted by producer George Martin and they followed this show success up with a series
of truly classic novelty pop chart hits, again with Cribbins - “Hole In The Ground” and “Right Said
Fred”. If you are not aware of the classic A Combination Of Cribbins LP they wrote, go and find
it. It includes “Gossip Calypso”, a triumph of novelty song writing that somehow manages to
squeeze in the lyric “Oxy-aceteline welder”, and is possibly the only song ever to do so. They
wrote further hits (winning an Ivor Novello for “A Windmill In Old Amsterdam”) and were in
constant demand throughout the 1960s and 1970s, working with artists such as Petula Clark,
Matt Munro, Bruce Forsyth, Topol and Kenneth Williams.

By the late 1960s Ted had also penned a handful of instrumental library cues including the
classic “Busy Boy” for the Standard Library company that got picked up as the theme for the
brilliant TV kids fantasy show Catweazle in 1970. It’s a light, kooky, hummable tune that lodged
its way deep in the mind of any child under 12 over the following decade.

When I first got the reels for Sex Clinic I’m not sure what I was sonically expecting - much of
Dicks’ music blends musical hall with jazz and some brilliant novelty - and maybe I was also
imagining a different kind of film to the one that was actually made. Turns out Sex Clinic is more
like a sleazy drama than an erotic adventure - I’ve read reviews that call it “nothing more than a
naked Crossroads”. Even knowing this I had no idea what the music was going to sound like. So
I was thrilled when it was almost the musical opposite of what I imagined. We have here a great,
easy jazz score. Not a proggy, wild or free jazz score, this is lightish, vibes-led, bluesy and really
charming, which gets slightly more lively when the naked pool party sequence kicks off, and
drifts effortlessly into more seductive midnight moods as and when required. And having now
seen the film, musically it’s unusually at odds with the on screen nudity, blackmail and revenge.

But like most of Ted’s work, the music sticks in your mind. Unlike the film. Which I suggest you
try and avoid unless you like watching plump randy middle aged men with terrible hair pursue
women half their age.

TRACKLISTING: There were no notes or titles to any of the cues on the reels. So I have just simply labeled the sides as per the reels that came in:

The epitome of a modern artist, Jana Bahrich does most things herself, no matter how painstaking - writing, producing, directing, often hand painting t-shirts the day of shows when the band have run out of merch. This has helped give her band Francis of Delirium a unique identity, with her rock confessionals breathing a new life in to the genre and her paintings creating a striking design aesthetic. Released as she was finishing high school, 2020’s single 'Quit Fucking Around’ was a great introduction and it remains one of her most enduring songs.

Shortly after it’s release, she signed to artist-first indie Dalliance Recordings (Gia Margaret, HighSchool, lilo) and three EPs - All Change (2020), Wading (2021), The Funhouse (2022) and a striking debut album - Lighthouse (2024) - on and Jana has Francis of Delirium flying. While the EP’s fizzed with promise, her debut album Lighthouse landed its punches. Seeking a more vulnerable and open sonic palette, she wove in pop elements to create anthems that celebrated heartbreak and love. Lead singles ‘Real Love’ and ‘First Touch’ were the first tracks she made with an outsider - working with GRAMMY winning producer Catherine Marks (boygenius, The Killers, Wolf Alice) - while the rest of the album was produced by Jana herself and day one collaborator Chris Hewett. The critics were impressed too - “Bahrich’s choruses, almost every one, are lumpin-your-throat gorgeous.” NME; “Jana Bahrich seems too young for this tremendous debut’s ambitious anthems.” Uncut; “A rewarding experience that captures a talented, young artist at the crossroads between adolescence and adulthood." Paste. Live, Francis of Delirium are Jana (guitar and vocals), Jeff Hennico (bass) and Denis Schumacher (drums). Together, their brilliant quiet-loud dynamic and tight interplay only elevate her songs and over the last 5 years, they’ve toured across Europe and North America, playing headline shows, festivals and tours with the likes of Blondshell, Briston Maroney, The Districts, Horsegirl and Soccer Mommy. They’ve also supported The 1975, Alanis Morissette, DIIV and Wolf Alice.

Last summer saw a memorable UK tour with Bôa, the 90s band resurrected by a huge TikTok moment for their track ‘Duvet’. There was a real sense of excitement for these shows with young crowds snaking outside every venue hours before doors and bringing the sort of energy Jana thrives on, she road tested new material to an overwhelmingly positive response, giving her the impetus to go and finish album two. An artist who seeks to connect with her listener on a deeper level, it’s no surprise then that she’s made hope and inner strength central themes on her new album, Run, Run Pure Beauty. Jana says the title track is “an imagining of the world after it has been destroyed by humans and technology. Thrashing against what humans have left behind, ultimately the pure beauty of nature wins out.”

Wanting to bring different perspectives into her songwriting with this record - informed by both her travels and the tumultuous times we find ourselves in - she’s also brought about a progression in her sound with these new songs somehow sounding larger, with undeniable harmonies and more orchestration. Featuring the singles ‘Little Black Dress’ and ‘It’s a Beautiful Life’, Run, Run Pure Beauty serves as an excavation of hope in bleak times. Produced by Jana and Chris, and mixed by Nicolas Vernhes (Deerhunter, Dirty Projectors, Silver Jews, Wild Nothing), its eleven songs of discovery, despair and perseverance ultimately serve as a mirror on its creator and is a brilliant next installment in the Francis of Delirium arc.

/// First track, Symmetry, debuted on BBC Radio 6 New Music Fix, 10th February: "A beautiful, beautiful album" /// I got my life back. On 17 February 2025, 1024 rays of ultra sound converged at an operation table in Bern, Switzerland, and disconnected a noisy circuit on my brain. 90% of the manifestation ceased – of a disease that I no longer wish to mention by its name. During the same period, I completed my new album: Self Help Manual. I’ve read more current research about the nameless disease than my neurologist, who despite that I didn’t follow his advice on suitable treatment, called me after the successful operation: a brave, brave man. I have composed the music in the same way as in my previous album – Songs for the Nervous System – through layers upon layers of improvisations in dialogue with my synthesizers, most of which are the same age as me. I made the majority of the songs in my studio in the remains of Old Hagalund in Solna. I edited the recordings in my bed during the waking hours of clarity at night. Some songs – NAC, Ketosis, Overkill – were recorded in the basement of my childhood home in Skutskär, in Norduppland, where I’d returned to be nurtured by my retired parents – who during a night when I couldn’t turn over in bed, or pull the blanket over me – made a list of what would happen to my belongings. To my friends who have stood out with me despite my disease, I want to state: you will not inherit me yet. On the new album, the electric bass takes on a leading role. ESG and Liquid Liquid have been important when I reinvented my baselines, limited and liberated by my poor fine motor skills. Plasma is my homage to Summertime Rolls by Jane’s Addiction, that I listened to frequently in my youth. I guess that no one will hear the resemblance. In several songs, the Fender Rhodes plays an important role, a magical instrument that I bought shortly after my diagnosis over a decade ago, and for a long time didn’t dare to touch out of respect for Herbie Hancock and Fela Kuti. A couple of songs draw inspiration from the Horn of Africa – Inner Nile and Delta. At first, subconsciously in the reverb-drenched Inner Nile, then more consciously in Delta. I’m sorry it doesn’t swing the right way, but it was my attempt to return to the cradle of humanity. Longevity is possibly my favourite. The melody is played by an arpeggiator that I controlled by pressing down different keys in an exhilarating sense of freedom. One song in particular, the second track – One – has caused friends to associate freely: one thought it sounded like Patrick Cowley, another like Sly & Robbie meets Kraftwerk, a third like Air – Moonlight Safari. I made one song just before the surgery: opening track Symmetry. It’s the mightiest and most minimal song. I made one song after the surgery: finishing track Self Help Manual. My previous medication pump is heard through the microphone of my Ovation Magnum. It’s the most hopeful song on the album. I took the cover photos with my Hasselblad during walks in Tokyo suburbs of Ōmori and Kamata more than ten years ago. It was something about the faith of the traffic cones that fascinated me – born in the same streamlined form, they had over the years become increasingly individual and lovable. The mixing was finalized by Christoffer Roth in the newly built Studio Dubious in Nacka. Rashad Becker, who in an interview said that he listens as much with his mouth as with his ears, mastered the album at Clunk in Berlin. Right now it feels like anything is possible. My recovery is perhaps a small step for mankind, but a giant leap for me. I hereby leave the music to you. Joakim Forsgren

Somewhere close to Manchester’s ever changing city centre, as the sun fades and peeks through the newest glass facade, you’ll find Shaking Hand. One part in shadow, the other basking in prisms of light as they sketch out their own sonic landscapes in the dusty redbrick mill they call home. One that is just about clinging on from the encroaching developments that surround them.

Against this back-drop where buildings are constantly torn down & built back again, the three piece craft away. Pulling from early post-rock, and 90s US alternative rock, crafting their own brand of Northwest-emo. Assembling something new, yet nostalgic. Looking ahead towards the transforming horizon. Shaking Hand’s music is built on tension and release – quiets that stretch, louds that overwhelm. Repetition that feels both hypnotic and destabilising.

The band’s musical DNA runs through experimental guitar outfits like Women, Slint, Sonic Youth, Pavement, and Ulrika Spacek, balanced with the melodic sensibility of Big Thief and the dynamic intimacy of Yo La Tengo. Their compositions push against structure: sudden jolts of tempo, polyrhythms that almost fall apart, and riffs that unravel into something fragile or ecstatic. Yet, as Ellis notes, there’s an underlying warmth too: “Like walking through an empty city late at night but catching flickers of life in the buildings you pass.”

Early ideas like ‘Night Owl’ and ‘Sundance’ grew out of George’s lockdown “bedroom years,” where new tunings (open E, drop D, and stranger Pavement-inspired set-ups) opened up uncharted textures. Later, in grim rehearsal rooms, the murky epic ‘Cable Ties’ and the hypnotic ‘Mantras’ absorbed the gloom and grit of the band’s surroundings.

The album was recorded with producer David Pye (Wild Beasts, Teenage Fanclub) at Nave Studios in Leeds, housed in a converted church. “The live room was huge and perfect for capturing our sound,” says George. Determined to bottle their onstage energy, the band tracked the foundations live, layering vocals and guitars later. Soviet-era microphones, odd mic placements, and even phone-recorded demos fed into the mix. “You’ve got to watch out for David though,” Freddie laughs. “He made me play four tambourines in one hand, really hurt, man.”

Lyrically, the record drifts between abstraction and lived moments. George’s words often spill out instinctively, words falling into place before their meaning becomes clear. “A lot of the lyrics look like they’re buried in abstraction,” he says, “but when I look back I can see what they were about — whether that’s an emotional response at the time or just an observation of what was happening around me”. There’s contrast at the heart of it all – optimism vs. doubt, the lightness of youth vs. the monotony of work, a city in constant redevelopment vs. the people drifting through it.

The album artwork is taken from unused plans for the 1970s redevelopment of Los Angeles by architect Ray Kappe, entitled ‘People Movers’. Hypothetical buildings for real people, it feels a complement to the band’s own constructions. One thing’s for sure, Shaking Hand’s debut is built to last.

Plastik People deals in house & garage done right. This latest drop is a split EP between Marc Cotterell and Dominic Balchin and opens with 'The Trumpet Track', which is exactly that. 'Baby Do You Feel Me' is unabashed vocal joy, while 'Oh Lord' sinks into deeper house with shapeshifting chords that keep you moving. 'Rhythm Of The Vibe' is a New York homage with shades of Kerri Chandler and we can't get enough of it.

Moondata’s little-known sole single, 1984’s decidedly Balearic, jazz-funk/boogie fusion gem ‘Let The Moonshine In’, is a very important record to the Rotation Sound System crew. It has become a familiar favourite at their annual Rotation Garden Party micro-festival and formed the centrepiece of their first compilation, summer 2025’s superb Everything You’re About To Hear Is True Volume 1. It’s increasingly rare these days for an artist from the 80s to still have their master tapes but even rarer still for them to have the multitrack tapes too. This is something of the holy grail when it comes to licensing old music so when it happens the opportunity to remix and create new versions needs to be grabbed with both hands.

The original record, a genuine rarity beloved of synth-loving crate-diggers, had an unusual gestation. Originally recorded in demo form by musician Jean-Marie Gogniat, it was turned into a finished single by a group of German musicians with a little help from lyricist and vocalist Joe Mwenda, and a crew of backing vocalists whose number included a locally based American singer – a pre-fame Jennifer Rush. Fittingly, the pre-vocal instrumental mix, which has sat unreleased since 1984, is included as a bonus track on the digital edition of this new remix package. The Rotation Sound System crew’s mixes, headed up by long-serving producer Dean Meredith, sprinkle 21st century magic across Gogniat’s one-off masterpiece while retaining core elements of the original and offering nods aplenty to club-focused sounds of the 1980s. They are, in effect, the versions the track deserved – but never got – back in the mid 1980s.

To begin, Meredith reunites with long-time production partner Andrew Meecham for the pair’s first remix as Chicken Lips in three years – a typically sparse and spaced-out ‘Malfunction Dub’ with delay-laden synths, vocals and guitar snippets sit over a sparse post-electro beat and bass guitar. Meredith then joins forces with fellow Rotation Sound System member Ben Shenton for takes under their two bestknown aliases. First, they don the T-Kutt guise for some dubbed out, funky bass guitar-propelled boogie-meets-proto house action that rocks out a killer, Clavinet-expanded groove while spinning in talkbox and backing vocals.

The pair then re-emerge as Mind Fair, famed for their releases on Golf Channel Recordings and their own Rogue Cat Sounds, and deliver a warmer, deeper and more organic-sounding take that’s as languid and tactile as it is warm and saucereyed. To round off the vinyl version of the EP, Rotation Sound System’s other core members – Rob J, Rich Hall and Stuart Robinson – don the now-familiar Wrekin Havoc guise and re-invent the track as a raw, analogue-rich shuffle through 1980s electro – all squelchy synth-bass, stabbing, cut-up vocal samples, chiming synth melodies and echoing beats. The expanded digital download edition of the EP contains a trio of additional bonus rubs. Alongside instrumental versions of the T-Kutt and Mind Fair mixes, we also get a full vocal T-Kutt rework that adds back in Joe Mwenda’s beautifully delivered verses. These additional DJ tools round off a beautifully rendered set of re-imaginations of a genuine cult classic. Gogniat, the man who started it all way back in the summer of 1984, certainly approves.

For Record Store Day 2026, Brownswood Recordings mark two decades of boundary-pushing independent music with Twenty Years Deep, a limited-edition 3xLP vinyl compilation celebrating the label’s rich, global catalogue and enduring influence.

Founded in 2006 by broadcaster, DJ, and cultural tastemaker Gilles Peterson, Brownswood has spent the last 20 years championing forward-thinking artists who sit just left of centre: rooted in Afro-diasporic music, but never confined by genre. Twenty Years Deep is a snapshot of that journey: a carefully curated collection spanning the label’s early breakthroughs, cult classics, and defining moments.

Pressed exclusively for Record Store Day on 3 piece coloured vinyl Twenty Years Deep brings together tracks that reflect Brownswood’s long-standing commitment to artistic freedom, musical lineage, and future-facing sounds. From deep jazz explorations and dancefloor mutations to global collaborations and genre-defying hybrids, the compilation captures the connective thread that has defined the label since day one: trust in artists and belief in music that lasts.
Rather than a greatest-hits exercise, Twenty Years Deep functions as an archive and a statement documenting how Brownswood has maintained its own point of view. By following a highly instinctive approach to A&R the label has shaped music culture, introduced new voices, and built a catalogue that continues to resonate well beyond release cycles.

Twenty Years Deep will be available exclusively at participating independent record stores on Record Store Day 2026, pressed as a limited-edition 3 piece vinyl release.

When Ryan DeRobertis announced the name change of his project from Saint Pepsi to Skylar Spence, there was no indication of any stylistic departure, though the change arrived with a musical shift toward faster tempos and more pristine production. Whereas Saint Pepsi had often used decades-old boogie, disco, and new wave as grist for the sampling mill, Skylar Spence is intent on trafficking more overtly in those genre aesthetics through his own production techniques and vocal contributions. With Prom King, DeRobertis reorients his music for his new full-band live act and winds up with an album full of tight and enveloping dance tunes.

Working with Carpark Records 'gave me the confidence to 'go big' with the new material: to write pop songs with universal messages in the sonic wrapping paper that I've grown accustomed to,' DeRobertis says. 'A few songs on Prom King are about specific events in my life—a party where I got too messed up, watching a friend's life spiral out of control and trying to help—but I tried hard not to be too autobiographical because I want my music to unite, above all else. I'm much more interested in connecting with the listener than mystifying my personality.'

While DeRobertis' previous long-players have been more amorphous collections in the style of beat tapes, Prom King is compact and cohesive, with the album's varied stylistic references (new wave, UK garage, boogie) united through strong guitar melodies and Todd Edwards-ian cobblings-together of tiny vocal samples. 'I slowed some music down and called myself an artist,' DeRobertis sings on lead single 'Can't You See,' acknowledging in his lyrics what is already apparent in the music's tone—he can maintain fidelity to his vision while working in more uptempo, disco-based song structures.

'Ridiculous!' and 'Bounce Is Back' are big groovers that capitalize on jacking hi-hats and hand drumming, respectively, and both have an air of Balearic warmth and smoothness. On the title track, DeRobertis entwines a chorus of unintelligible but expressive samples with his own vocals—what feels like a synthesis of two approaches—and the result is an affecting pattern of build and release. More contemplative sophisti-pop numbers like 'Fall Harder' and 'Affairs' add a realist's breadth of scope: thoughts of past foibles bleed into present-dwelling and dancing.

Prom King is DeRobertis making sense of missed opportunities. His high school did not have a prom king; he has filled the position with an imaginative album of personal and musical revisionism.

Season 2 formed in late 2024, bringing together seasoned Melbourne musicians with previous and current projects including Parsnip, The Stroppies and Phil and the Tiles. The five piece, comprising Carolyn Hawkins, Claudia Serfaty, Charlotte Zarb, Freya McLeod and Matt Powell, quickly set to work writing winsome, DIY, shimmer-pop hits that careen through your mind in a gratifying dizzy rush.

With a clear collective vision and little time to waste, Season 2 spent 2025 writing and recording, appearing live only a handful of times. Finally, this April, the band are primed for their debut release, a full-length album entitled 'Power of Now'. ‘Power of Now ‘is a cerebral explosion of melody, hooks, drones and rhythm. In the vein of The Feelies, The Vaselines and The Clean, Season 2 have whipped up a sonic whirlwind. It's a giddy thrill of snappy slap, catchy gang vocals and crystalline guitar refrains.

'Abundance of Power' is a bittersweet bop of ponderous bass, crisp chord flashes and grounded vocals that dwell on slighted futures and bored realities. 'Becomes a Dream' is a delirious race of scrappy strumming and flying phrases that unsettle as much as they pinball endorphins - "pour the ink into the sand, watch the dog it bites the hand". "Tell me something, elbows on the table, I'll tell you nothing, leave you tugging at the cable" they sing on the peppy future single 'Tugging at the Cable', capturing a certain innocent, wide-eyed expressiveness. Season 2 do sparky well, their songs are instant rewards, tunnelling into your subconscious and testing the dance floor. They keep everything moving, the beat and the conversation. Season 2 sound barely controlled and all the better for it, you have no choice but to be swept up.

'Power of Now' was recorded by Alex Macfarlane (The Green Child, Chateau) and mastered by Mikey Young. It will be released digitally and on LP (black vinyl) on April 24th, internationally via Upset The Rhythm and locally in Australia by Spoilsport Records.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.

Greg Mendez war schon immer ein sparsamer Songwriter - er nutzt Zurückhaltung und Einfachheit als Werkzeuge, um den Kern seiner Songs zu schärfen. Auf Beauty Land, seinem neuen Album und Debüt-LP für Dead Oceans, werden wir von einem ironischen, aber nachsichtigen Erzähler begleitet, einem Underdog, der gelernt hat, Zynismus und Glauben in Einklang zu bringen. Diese Songs sind zurückhaltend, ohne selbstmitleidig zu sein, sorgfältig konstruierte Altäre der Unvollkommenheit, vermittelt durch Pop-Melodien, schimmernde, aber eindringliche Gitarren und eine Stimme, die nach der Unschuld eines Chorknaben strebt. Der Großteil von ,Beauty Land" wurde direkt auf Band aufgenommen, fast ganz allein in Mendez' provisorischem Heimstudio in Philadelphia - einem kleinen Raum ohne Tageslicht. Es ist sein erstes Album in voller Länge seit seinem unerwarteten Durchbruch mit dem selbstbetitelten Album im Jahr 2023, das nach 15 Jahren des Schreibens und Aufnehmens von Musik in relativer Unbekanntheit zwischen Philly und New York ein langsamer Erfolg wurde. ,Beauty Land" knüpft dort an, wo wir vor drei Jahren aufgehört haben - es lotet die Tiefen von Trauer, Liebe und Sucht aus -, aber seine intensive, ruhige Klarheit zeigt Mendez von seiner besten Seite als Songwriter. Teile von ,Beauty Land" fühlen sich wie ein luzider Traum an, in dem angeschlagene Charaktere sich ihren Weg durch eine karikaturhafte und verzerrte Welt bahnen - der gebrochene Uhrentakt von ,I Wanna Feel Pretty", das klingende Spielzeugklavier in ,Gentle Love". ,Mary / Dreaming" beginnt als spärliche, fingergezupfte Klage, bevor es abrupt zu einer enttäuschten, Beach-Boys-artigen, aber verkorksten Auflösung übergeht, die sowohl Melancholie als auch Freude hervorruft; ein Gefühl, dass alle Dinge gleichzeitig wahr sein können. Keiner der 14 Tracks ist länger als drei Minuten, aber sie erzählen Geschichten, die ein ganzes Leben umfassen. Der Tod schwebt durch das Album, sei es als Erinnerung oder als Bedrohung. Alles fühlt sich prekär an. Die Art und Weise, wie diese Songs aufgebaut sind, hat etwas Zerbrechliches: die Art und Weise, wie die Begräbnisorgel neben dem Morphium in ,Looking Out Your Window" erklingt, die verheerende Einfachheit von ,Frog" mit seinem verlangsamten Keyboard und dem nackten Refrain: ,Bitte vergib mir meine Fehler." Beauty Land fühlt sich manchmal unmöglich einsam an. Umso mehr zählt es, wenn das nicht der Fall ist - wie zum Beispiel, wenn Mendez gegen Ende von ,So Mean" im Duett mit seiner Frau und Bandkollegin Veronica singt und es sich wie ein lang ersehntes Wiedersehen anfühlt, wie ein flüchtiger Moment der Erlösung, wie eine vorübergehende Teilung der Meere.