With a sound that draws from the energy of classic disco, touched-up for modern clubs, Kridelka, Chanda & the Passengers come with a scorching contemporary cut that is primed to light up dancefloors this summer — with staying power to become a future dancefloor staple. The Montreal-based collective have honed their vivacious sound over the past decade on the club and festival circuit, where their live shows — complete with intricate musicianship and the explosive lead of Chanda Holmes’s exhilarating vocals — are known to give audiences a full-body workout, building them a dedicated fanbase.

“Give it to ‘em!” was produced by Julien Kridelka, who gives Chanda and the Passengers’ original track a vigorous modern disco sound with all the right ingredients: rippling bass, slick rhythm guitar, punchy horns and a tight, grooving drum track. Chanda’s lyrics are uplifting and worldly-wise in the tradition of the great soul divas, delivered with passion and plenty of attitude. Nudging the song in a slightly housier direction is guest remixer Colleen “Cosmo” Murphy, who shifts the emphasis to a well-fitted four-on-the-floor beat while retaining all the energy of Kridelka’s production. With an instrumental and a drama-building dub included, there are plenty of options for DJs to make this one their own in the mix. “Give it to ‘em!” will be out exclusively on vinyl in September with all the attention to sonic detail Love Injection is known for, before getting a wider digital release this fall. The 12–inch contains the original Kridelka mix, along with the full spread of Cosmodelica mixes (vocal, instrumental and dub).

The inimitable Joaquin Joe Claussell shifts his gaze towards Central Europe, this time focusing eyes and ears on the insufficiently-celebrated polymath Adelhard Roidinger. The Austrian double bassist, synth sorcerer, programmer, and graphics artist collaborated with an esteemed list of greats including Anthony Braxton, Karl Berger, and George Russell, all while releasing a stream of temporally shattering electro-acoustic fusion albums on labels such as ECM throughout the 1970’s and ‘80s. ‘Kontrabad’, a centerpiece from his 1984 Computer & Jazz Project I, couldn’t be more representative of the album’s titular declaration, and proves ample subject matter for Claussell’s ever-reaching remix practice. Peter Gröning’s percussive flurry is buttressed with appended drum fills, while the jaw-dropping technique and timbre of Roidinger’s virtuosic bass playing is given clearance to stretch and breathe within the foregrounded ebb and flow of synth arpeggios. Also included on this 12" is the additional album cut ‘Kreisform’, a similarly molded Juno 106 and Roland SH 101 attraction which further sheds light on Claussell’s inspiration for his deliberate modifications on the aforementioned ‘Kontrabad’; thematically, stylistically, and spiritually whole and cohesive, as only he can.

“Mr. K turns his attention to his hometown with a couple of deep underground NYC disco cuts that have never appeared on 7-inch before: the stomping ‘Hey Roots’ by Black Rock and Ahzz’s sought-after ‘New York’s Movin’’. Black Rock’s ‘Hey Roots’ was the band’s follow-up to their 1975 proto-disco single ‘New York City Bump’ and takes a similar four-on-the-floor approach while raising the tempo to match the energy of a standard 1977 dancefloor cut. Mr. K’s edit builds the track methodically, using a sparse sprinkling of the original vocals and focusing on the hypnotic, Bohannon-esque beat. On the flip, he tackles the Peter Brown-adjacent classic ‘New York’s Movin’’, this time dropping the vocals entirely in favour of working with the wicked instrumental take, a wild jam that layers handclaps, tambourine, slicing rhythm-guitar and perfectly cheesy synth strings to make an irresistible dancefloor banger. Adding a dubby breakdown and arranging the parts to get the maximum out of the limited 7-inch real estate (both cuts here top the five-minute mark), Mr. K has given us another powerful tool in an ever-growing arsenal of dancefloor weapons.”

New 7” featuring a handful of edits from Galaxy Sound Co.’s Mr. Thelonious - “Dedicated to the crate diggers and turntablists”.

Hands up all of those who thought Basement Jaxx's Simon Ratcliffe would end up making slowly unfurling spiritual jazz with famed London improvisers Binker Golding (saxophone) and Moses Boyd (drums)? Us neither. To give Ratcliffe credit, this debut single from his new jazz-wise project is simply stunning. Golding's wild sax solos and Boyd's brilliant drumming catch the ear and provide an air of authenticity, but it's Ratcliffe's contributions - drowsy sunrise electronics and meditative synthesizer motifs on A-side "Village Of The Sun", sparkling piano motifs on "Ted" and warm bass on both - that tie everything together and ensure that both tracks are worth far more than the sum of their parts. A surprise, yes, but the results are both thrilling and spellbinding.

By now this classic has been reissued in countless variations; would be worth the dough for the Marc Kinchen dub mix alone.

Nearly a decade in the making, Catalyst marks Julion De'Angelo's long-awaited debut album, a bold statement of artistic vision and musical dedication. Across eight tracks, the album pairs driving rhythms with rich melodies, showcasing Julion's distinct approach to dance music. From the Beatdown house momentum of "The Tundra" and "Antheme" to the expansive jazz textures of "Karma" "Confused Ones," & a new mix of "Consciousness" (featuring Detroit keys virtuoso Ian Fink), each composition unfolds with intention, creating an immersive listening experience that feels both physical and deeply personal. Julion De'Angelo has crafted a polyrhythmic masterclass that celebrates life. Honoring Detroit's legacy while refusing to be confined by it, Catalyst embraces tradition as a foundation for innovation—bridging soulful experimentation, organic composition and contemporary dance music into a sound that is distinctly Julion's own.

Theo Parrish grips two yung Detroit producers, Julion De’Angelo and Thomas Xu, for a superbly refreshing blend of traditions, old and new, with Roots That Talk for Sound Signature. Track for track they give up some of the baddest gear on SS in a minute, with De’Angelo’s Chase The Summer pivoting around a killer, angular Afro-drum cadence, electro-stab punctuation and virulent synthlines, and then playing out the perfectly hazy, dusky ghetto ride of Pocketfull’s Omar-S style steez. Thomas Xu keeps up his end of the bargain, too; getting down with balafon-like percussions and thumb piano chimes in Alottochewon before a rudely fulminating synth wickedly upsets the rhythm - this will sound mental in the club! - whereas his Acceptance groove meditates on more charming vibes redolent of Africans With Mainframes at their more laid-back angles.

First-ever vinyl reissue of Hadley Caliman's 1971 modal/spiritual jazz cult classic, Iapetus. Composed and arranged by Bayeté Todd Cochran, featuring remastered audio, original gatefold artwork with unissued session photos and new liner notes written by Todd Cochran. Wewantsounds continues its reissue program of Bob Shad's cult jazz label, Mainstream Records, with Hadley Caliman's superb 1972 album, Iapetus. Recorded in LA and featuring a heavyweight lineup of West Coast players including Todd Cochran, Woody "Sonship" Theus, Luis Gasca, and Victor Pantoja, the majority of the album was composed by Todd Cochran (aka Bayeté) soon after he had composed Bobby Hutcherson's Blue Note classic, Head On. A true hidden treasure, it is reissued here on vinyl for the first time since 1971, featuring its original gatefold artwork with rare first-generation photos. This edition comes with newly remastered audio and a two-page insert with exclusive liner notes by Todd Cochran, reflecting on Hadley Caliman and the making of the album. Tenor saxophonist and flutist Hadley Caliman was a key figure in the West Coast late '60s underground scene, whose versatile style made him a first-call collaborator across genres. A fixture of the San Francisco music scene, Caliman's rich tone and musical creativity saw him crossing over into the city's lively jazz and psychedelic rock circles, contributing to recordings by Gerald Wilson, Mongo Santamaria, Santana, and the Grateful Dead. By 1971, he had established himself as a prominent member of this creative community, which led to his signing with Bob Shad's Mainstream Records. Following his 1971 self-titled debut, Caliman returned to the studio later that year to record Iapetus. The session featured a heavyweight lineup of fellow West Coast fixtures, including trumpeter Luis Gasca, bassist James Leary, and a powerhouse percussion section of Woody "Sonship" Theus, Victor Pantoja, and Hungria Garcia. The album's sophisticated modal structures were captured by pianist and composer Todd Cochran.

Collossal darkside jacker's grooves on Sound Signature. Your man from Chicago, Spekter, has appeared on some ace sides for Sistrum and Downbeat to date, before passing this tune to Theo Parrish who promptly signed it up for Sound Signature.

Spiritual World presents: Ashleigh Ball — Center of the Universe, a transcendental flute journey from the singer and flutist of Teal.
Center of the Universe is a 32-minute improvisational odyssey recorded inside the Dominion Astrophysical Observatory (DAO), a National Historic Site on Vancouver Island, in British Columbia Canada. Inspired by the pioneering work of Paul Horn and his Inside series, the recording channels a similar spirit of reverent exploration within a space rich in history and resonance. Completed in 1918, the observatory is home to the Plaskett Telescope - once among the largest and most powerful in the world - playing a key role in mapping the Milky Way.

Captured using a minimalist recording approach, Center of the Universe preserves the purity of the moment—its warmth, stillness, and the architecture’s subtle mechanical resonance. Here, the observatory itself becomes an instrument, shaping the sound into something elemental, timeless, and deeply human.

A long out of print reggae classic, the Aggrovators' Rasta Dub '76 is a Bunny Lee produced gem that was further dubbed up by the man King Tubby for extra pleasure. Catching them at the apex of their collective talent, Rasta Dub '76 is a thick and humid collection that sees the Aggrovators fully exploiting their often tense sound to its full potential, with the likes of 'Fatty Boom Boom Dub', 'Hold On Dub' and 'Ja Ja In De Dub' incorporating just as much shadow as light.