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SIDE A. J. Diggns - Saturday Salsa with sizzling brass, deep pocket percussion, and a groove that’s pure motion. Whether you’re rocking the decks or rolling at the rink, this one brings that feel-good energy straight to your soul. It isn't Saturday without the "De La Brilla", Glow in Spanish —

SIDE B. King Most – BALLA EDIT From Radio Havana to West Africa, the spirit of Latin rhythm crossed oceans, bouncing oc antennas and into the soul of a continent. On BALLA EDIT, King Most channels that deep cultural echo—an infectious blend of clave, funk, and highlife sensibilities, flipped with modern finesse and analog warmth. Made to ride at block parties, or sets where borders blur and rhythms rule. Global grooves, rooted deep. Pressed heavy. Played loud

The Mekanik label, led by the tireless Manu Kenton, returns strongly with a new, strikingly effective EP: "Metronome." Available as a colored vinyl limited edition and in digital format, this project brings together four finely crafted techno productions for clubs and thrill-seekers.



Between explosive buildups, hypnotic grooves, and acidic textures, the "Metronome EP" delivers a concentrated dose of raw energy and sonic mastery. True to his identity, Manu Kenton once again demonstrates his ability to combine power, tension, and efficiency, always with a signature recognizable among thousands.



A key figure of the legendary Lagoa club in Menin, Manu Kenton continues his path here, chaining projects with a consistently strong artistic coherence.

On the visual side, this collector's vinyl stands out with its revamped "Yolk effect" in luminous green tones, adding an original and modern touch to this new chapter of the Mekanik label.



Français



Le label Mekanik, piloté par l’infatigable Manu Kenton, revient en force avec un nouvel EP redoutablement efficace : "Metronome". Disponible en vinyle coloré en édition limitée et en version digitale, ce projet rassemble quatre productions techno ciselées pour les clubs et les amateurs de sensations fortes.



Entre montées explosives, grooves hypnotiques et textures acides, "Metronome EP" offre un concentré d’énergie brute et de maîtrise sonore. Fidèle à son identité, Manu Kenton y affirme une fois de plus sa capacité à allier puissance, tension et efficacité, toujours avec une signature reconnaissable entre mille.

The Australian master of the dark synth arts is back and – boy – he is out for blood.
We’ve been missing Marc Dwyer solo project Buzz Kull since his latest single Last In The Club from late 2019 and since back then we knew he was up to something. At first glimpse, the minimal wave days of We Were Lovers seem far away now that Marc has gone full Club Body Music with his upcoming new album, but there is a thread that binds Buzz Kull hits from the past such as Into The Void, Avoiding The Light and New Kind Of Cross with these ten new cuts: a thread of darkness proper to the most handsome man in the game and that’s here to stay.

Echoes of 90’s era Front 242 and Front Line Assembly will resonate from tracks like Fascination and Dead Inside; elements of early body music flirting with the dark side of British synthpop will rave from the grooves of Dancing with Machines and Man on the Beat, while late 80’s Belgian new beat cellar-like vibes rise from Do You See and Burn it to the Ground.

But Buzz Kull’s third full-length is not just about music subgenres we all know and love, it’s about a feeling that comes alive only with the dark and drives you through the small hours just to leave you drained and filled at once. The creature of the night is on the loose, the sticky dancefloor its natural habitat, its lust for the upside-down world of the club can’t be cured.

Wewantsounds is delighted to continue its Algerian music reissue program with the release of Freh Khodja's sought-after 1975 LP, Ken Andy Habib. Recorded in Paris with Les Flammes, a group of immigrant musicians, the album is now reissued for the first time. Selected by Paris-based DJ Cheb Gero, who recently compiled the Sweet Rebels Rai set and curated the Abranis LP release for Wewantsounds, Ken Andi Habib is a masterful blend of Arabic music, jazz, Carribean/Latin grooves and funk. Featuring original artwork, audio remastered by Colorsound Studio, and a two-page insert with new liner notes (French/English) by Algerian journalist Rabah Mezouane.

Straight from Los Angeles, California, this fresh new single will take you for a journey into the Disco Boogie Galaxy.
Infectious grooves, fat basslines and powerful italian lyrics from the talented singer Moorea Masa.
Get ready to fall in love with the unstoppable & catchy vibes of Rosmarina!

A NEW DANCEFLOOR BOMB IS BORN FOR YOUR SUMMERTIME PARTY BY THE SEA.

EB-REX, a Berlin-based Techno label founded by Estella Boersma in 2024, stands as a testament to versatility and artistic freedom. Drawing inspiration from the halcyon days of old-school rave and the relentless drive of Techno's present, each release embodies a synthesis of the past and the future. The Sophomore release, EB002, delivers a driving, high-energy techno experience - taking you on a journey through rolling grooves that culminates in a surprising ambient rework. Written and Produced by Estella Boersma. Mastered by Manmade Mastering. Pressed by Intakt!.

Acid Delirio – the new EP by Lorenzo Morresi feat. Saturnino. Inspired by the 1968 cult film Acid Delirio dei Sensi, this 4-track journey blends percussive bass, analog synths, and organic grooves—crafted from Milan studio jams into forward-thinking dance music.

Lorenzo crosses several genres here, including disco, Moroccan dance, and Italo house, delivering a bold, borderless sound. The title track is a club-ready trip featuring Maria Chiara Argirò, with two versions (electronic vs. live drums). Also included: Night of Dreams + a fire remix by Gerd Janson, and the cinematic closer Idea Meccanicistica. Worldly, jazzy, psychedelic—it’s Italian electronic music at its most daring.

A true embodiment of Brazilian Boogie, this is the first official reissue of Brylho's album, founded in Rio de Janeiro in 1978 as Brylho da Cidade. The group was influenced by the Black Rio movement of Tim Maia, Cassiano, and others. Members included Arnaldo Brandão (vocals/bass), Paulo Roquette (guitar), Cláudio Zoli (guitar/vocals), Robério Rafael (drums), Bolão (percussion), and Ricardo Cristaldi (keyboard). Claudio Zoli stands out as an important funk artist of the 1980s, during a time when Pop Rock bands dominated the Brazilian music scene. This album features one of the biggest hits of 1983: the soulful reggae groove "Noite do Prazer." Often described as Rio de Janeiro's answer to George Benson's "Give Me the Night," it's a timeless classic that bridges funk, soul, and Brazilian grooves. On "Se Você For a Salvador," a sun-soaked, feel-good boogie track, younger generations have embraced a new term to describe the sound: Brazilian City Pop. The record also delivers dancefloor heat like the stomping "Jóia Rara," the vibrant soul-reggae fusion "Destrava Maria," the ahead-of-its- time rap-funk hybrid "Cheque Sem Fundo," and the electrifying samba-reggae "Pé de Guerra," rich with Bahian rhythms and energy. Closing out the album are two under-the-radar jazz-funk gems: "Meditando" and "171." Though often lumped into the boogie category, these tracks lean more toward the sleek 1980s jazz-funk sound, reminiscent of UK acts like Level 42.

Stephen Disario returns to his imprint Conundrum Records with his first release of the year, the Tawa EP. A fixture of the Los Angeles scene, Disario delivers three dark, percussive techno cuts that lean into tribal rhythms and hypnotic energy. Each track is a testament to his razor-sharp drum programming, immersive sound design, and cerebral atmospheres-hallmarks of his evolving sonic identity.

The EP also features a standout remix from rising Brazilian talent Marcal. His Hightimes rework blends dense, chugging grooves with eerie chimes and trance-like, spacey textures, offering a fresh, mind-bending take on the original.

Back in an unmissable picture disc reissue: THE MOOD MOSAIC
Vol.1 – The Hashish Party, ready to win over collectors and vintage sound lovers. Originally released in 1997 by Yellowstone
Records, this iconic compilation blends jazz-funk, lounge, Latin
jazz, soul-jazz, and psychedelia into a truly unique musical
journey.

The tracklist features legendary artists like Serge Gainsbourg,
Michel Legrand, Gábor Szabó, George Shearing, and Shocking
Blue, delivering an irresistible mix of exotic grooves and retro
atmospheres. The picture disc format enhances the series’ visual
appeal, making every copy a true collector’s item

Channeling the grooves of Black Label Society, the melodies of Alter Bridge, the aggression of Pantera, and the weight of Sabbath, Lowdown deliver doom-laced chords and searing, down-tuned riffs - battle cries in musical form, their arrival wasn't just heard; it was felt.

Underground Pacific is back with a new double vinyl compilation titled ‘The Only Good Wave is a Dead One’ that confirms, once again, its uncompromising taste for bold electronic music, psychedelic textures, and raw, electrified rock ‘n roll. This release brings together a varied group of artists, each of them adding something special to the journey.

The trip begins with “Excursions” by Gregory Moore, a piece that floats into a humid sonic world, between the nostalgic tones of vintage video game soundtracks, the Fourth World atmospheres of Jon Hassell, and the shimmering calm of ’90s Japanese ambient à la Takashi Kokubo.

Next comes Talee, the Rotterdam-based regular of the label, with “Makes Me Wonder”. Here, grunge-soaked vocals meet a tight dark disco groove, pierced by crystalline guitar chords that shimmer at the track’s heart. A song with its soul in the past and its feet in the club.

Label founder Cantor teams up once again with German duo New Hook on “Achtung! Achtung!”, an homage to the eponymous track by Italian producer Black Saagan. Fueled by vintage drum machines, punk-infused vocals, and melodies echoing the krautrock minimalism of Cluster, the track channels pure Cold War disco energy.

On “Scavengers”, Berlin based World Wild Web and Rasp Thorne deliver a pure mix of electro-rock noir – Suicide by way of David Lynch. Picture a never seen before episode of the series where Martin Rev and Alan Vega are playing live at the Roadhouse in Twin Peaks, while Laura Palmer slowly moves her head to the music, with a devilish smile on her face.

All the way from Grenoble to Berlin, H.L.M. deliver a dirty bass-driven anthem called ‘Fronde’. French spoken vocals spitfire over layers of distorted drones and hypnotic rhythms. The result is rough, hypnotic, and brings to mind the grooves of Death in Vegas.

New Hook return, this time solo, with ‘Unity’: a blend of groovy downtempo percussions, melancholic guitar riffs, and their signature brand of spoken word, a style that’s quickly become their sonic fingerprint.

Then it’s the turn of mexican-wave exponents Montessori featuring Vongold on “Ad Libitum”: a techy sunrise piece with soft pads, subtle build-ups, and an ecstatic sense of endlessness. After-party music for vast, open spaces.
Next up are SX2 from Ireland with their ‘Buttons’, offering a rolling tech-house banger laced with desert guitars. Psychedelic FX’s and whispered vocals drenched in delay slow the pace in a breakdown full of tension, preparing the floor to an euphoric release.

A dream from the pandemic era reappears: Cantor’s “Hannett’s Dream”, originally released in 2020 by Modular’s Project’s imprint ‘Nothing Is Real’ together with their own reworked version present also in two very limited vinyl-collector editions released by Underground Pacific. The introspection and hypnotic structure of the original cut here is replaced by a more stripped down arrangement, with a four-to-the-floor groove that is perfectly crafted for peak-time ignition.

Closing out the release is “Carissima” by the man behind iconic label Wonder Stories, Aimes – a Moroder-esque bassline and sensual vocals play on top of a warm groove that suddenly fractures into jazz-tinged, breakbeat mood, in the style of early Warp Records, just in time to get back into its disco-ish swing.

Contrary to what the title of this release might suggest, the wave isn’t dead at all. It’s well alive in the underground, reanimated by labels like Underground Pacific who are always ready to welcome artists who aren’t afraid to crash genres together and, above all, who are driven by the desire to make free-form, inspired pieces of music.

New Environments & Rhythm Studies finds Andrew Pekler returning to the humid zones he explored on previous albums such as Sounds From Phantom Islands and Tristes Tropiques. Split between longer immersive compositions and shorter glimpse-like sketches, these 12 tracks feature new juxtapositions of Pekler's familiar palette of synthetic field recordings, warm, undulating electronic textures, shifting percussion patterns and serene melodies.

As with much of his recent work, Pekler's compositions here are structured around the beguiling effect of synthetic and non-synthetic sounds mirroring, mimicking and modulating one another. The teeming atmospheres within tracks such as Globestructures, Cymbals In The Mist or Globestructures: Option II are, despite their seemingly anthropogenic nature, entirely synthetic. Elsewhere, the lopsided grooves of Cumbia Para Los Grillos or Fabulation For K are derived from recordings of crickets and other insects which Pekler loops and uses to trigger electronic percussion – producing a pleasantly skewed rhythmic base for the fragments of melody which are layered on top. The six Rhythm Studies also follow the same principle – a playful interweaving of the organic and synthetic.

New Environments & Rhythm Studies is a further attempt to re-describe past tropes which laid claims to authentically represent music and sound from beyond the Western world (exotica, ethnomusicology, field recording) as undertakings of the imaginary.

Written and produced by Andrew Pekler, mastered by Giuseppe Ielasi, artwork by Morgan Cuinet, graphic design by Dmytro Nikolaienko.

German/Canadian outfit ANiML is a collection of artists with long histories in electronic music. They founded the Stratasonic label as a way of working with friends, peers and legends without any genre restrictions. Following the ‘Star Walk’ album, which was a comprehensive deep dive into their sound with improvisation and off-the-cuff collisions of a wide array of moods and grooves, it now gets remixed by three underground mainstays.

Detroit's Seth Troxler is one of the most iconic characters in the scene. His left-of-centre sets and sounds have taken him to the world's most notorious clubs, festivals and labels over the last 20 years. His take on 'Breather' is a richly layered minimal groove with suspensory pads rising up through a cosmic sky. There is a mystic quality to the pads and tripped-out atmosphere that will hypnotise dance.

Next is the legendary Mathew Jonson, a notorious synth magician and live show maestro with a jazz schooling and countless seminal tracks to his name. His understanding of dance floor dynamics and meaningful melody runs deep and shines through his remix of 'Baby D.' It's a wonky, off-balance rhythm with shimmering melodies and soulful vocal snippets. Fractured percussive sounds, muffled horns and golden keys marble the mix, which is psychedelic and wonderfully woozy.

Brooklyn-based Galcher Lustwerk has been at the forefront for more than a decade with a signature blend of experimental house and stream-of-consciousness rap informed by funk, rhythm, and blues. His compelling take on 'Bruv' is powered by a bubbly, acidic low-end with shadowy vocal whispers bleeding in and out of the raw, ice-cold beats.

Detroit’s own Brian Kage returns with Timeless Times Remixed, a interstellar re-imagination of his album "Timeless Times" featuring an all-star lineup of remixers. Timeless Times Remixed brings together some of the finest minds in house and techno, delivering deep, timeless grooves with Detroit soul.

Brian Kage, a staple of Detroit’s electronic music scene, brings together a heavyweight lineup of producers to rework key tracks from his latest album. The legendary Delano Smith infuses Detroit Techno City with his signature deep and hypnotic touch, while Scotland's Milton Jackson reworks Just The Groove with a dose of his classic rolling house energy. The collaborative Reference (Luke Hess & Brian Kage) Remix of Nordhouse leans into peak time dub-techno atmospheres, while Detroit's newest and finest young talent from the Submerge crew Max Watts takes Galaxian into raw, driving 808 Electro terrain.
This essential four-tracker bridges deep house, techno, electro, and dub, while staying true to the classic and timeless sounds of Detroit’s roots.

Santana Bridges the Divide Between Live and Studio Material on Moonflower: 1977 Double Album Features Extraordinary Performances, Soulful Vibes, and Dynamic Mix of Latin, Rock, Funk, and Blues
Sourced from the Original Master Tapes and Strictly Limited to 3,000 Numbered Copies: Mobile Fidelity’s 180g 33RPM 2LP Set Plays with Audiophile-Quality Detail, Balance, and Imaging
1/4” / 15 IPS original analogue non-Dolby master to DSD 256 to analogue console to lathe



Though it may seem strange now, Moonflower stood for nearly 15 years as Santana’s first and only live record released in the United States. This despite the fact that roughly half of the double album consists of new studio songs, including a zesty cover of the Zombies classic “She’s Not There” that reached the Top 30 of the singles charts.

However unconventional, the “split” strategy went over like gangbusters. Moonflower reached the Top 10 of the Billboard Top 200 and achieved double-platinum status — feats the group would not again replicate for 22 years. These, and the beautiful quality of the program itself, are among the reasons why the 1977 effort remains viewed by critics and fans alike as must-have Santana.

Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, housed in a Stoughton jacket, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM 2LP set of Moonflower presents the record in audiophile sound for the first time on a domestic reissue. Part of the MoFi’s Santana catalog restoration series, this collectible version features quiet surfaces and black backgrounds that expose the critical details, liquid tones, and dynamic interplay central to Santana’s music.

The enhanced sonics extend not only to Carlos Santana’s six-string wizardry, but to the rhythmic, melodic, and vocal elements that course throughout both the studio and live cuts on Moonflower. The grip and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the extension and weight of the low-end frequencies; the rich textures of the guitars, percussive devices, and keyboards: all appear amid wide, balanced soundstages and image with right-sized dimensionality.

Significantly rooted in the styles and approaches that inform the group’s first three records, Moonflower captures the final appearances of iconic percussionist Jose “Chepito” Areas and go-to keyboardist Tom Coster on a Santana album. As he did during the preceding five-year stretch, Coster inhabits a large role here, sharing songwriting credits on a majority of the new cuts and helping steer the arrangements toward spiritually minded albeit concise directions that encompass vibrant Latin, rock, and blues themes that began to escape the ensemble shortly after his departure.

Close your eyes and feel the warmth of the sun on the R&B-kissed “I’ll Be Waiting,” anchored by Carlos Santana’s gliding fretwork and Greg Walker’s creamy vocals. Enter the cosmic universe of “Zulu,” on which Coster’s nimble phrasing opens the gate to polyrhythmic beats, knotty grooves, and interlocking funk. Grab the album cover and drift off to paradise amid the equally evocative “Flor d’Luna (Moonflower),” a romantic slow dance that Carlos Santana ensures tiptoes en route to its blissful destination. Channeling a different spirit animal, the guitarist later lets loose on the hard-hitting “El Morocco,” on which he seemingly engages in a shootout with himself and wades into the rippling psychedelia that elevated the band’s early material.

Speaking of the past, Moonflower triumphs on that level as well. In more ways than one, the live selections — and the caliber of the performances — chosen for inclusion represent an abbreviated greatest-hits survey of the band up to that point. And, at the very least, a convincing argument about why Santana had progressed into one of the most formidable bands you could hope to see on a stage in the mid ‘70s.

Simultaneously representative and illustrative of the group’s breadth, tracks stem from the collective’s eponymous debut, Abraxas, and Santana III as well as the then-more recent Amigos and Festival. Whether you fall for the sidewinding spell of a spicy rendition of “Black Magic Woman/Gypsy Queen,” lose your head to the positively epic momentum of “Soul Sacrifice/Head, Hands & Feet,” or keep dropping the needle on the savory grace of the brilliant reading of “Europa (Earth’s Cry Heaven’s Smile),” this pressing of Moonflower puts you — and Santana’s first-chapter legacy — in good hands.

Biz is one of a number of Australian artists who are having a big impact on the sound of contemporary techno, and he has been playing a key role in the scene since the late 1980s. His sound mixes deep basslines with uplifting melodies and he has collaborated with a number of legends as well as releasing music on labels like Transmat and COD3QR. Now on Acquit, he explores the outer edges of our galaxy with celestial synth lines, sci-fi melodies and deep, Detroit-inspired techno grooves that are brilliantly cinematic and evocative. 'Soul Within' is our favourite with its widescreen synths and floating pads.

Founded in 2020 by Austrian producer Lee Stevens, Rising Seed has evolved into a joint venture with Ken Hayakawa and a collective of guest musicians. Blending Acid Jazz, Trip Hop, and Disco, the project bridges the warmth of live instrumentation with the depth of electronic production.
With a strong focus on recording and re sampling real instruments, Rising Seed crafts a rich, organic sound—where vintage samplers, drum machines, and analog textures meet hypnotic grooves and cinematic atmospheres. Inspired by artists like Moby, Kruder & Dorfmeister, and Massive Attack, their debut album True Lies unfolds like a layered collage, blurring the lines between past and future, truth and illusion.
The opening track, “Follow Me,” perfectly embodies this fusion: sampled instruments and vocal snippets blend seamlessly with live recordings of flute and saxophone, all set against a funky drum break. “Gone West” does the unthinkable—marrying a house groove with esoteric vocals, live sitar by Amrith Jan, and—why not?—a touch of harmonica. “Like A Lion” is a dub-infused downbeat track packed with crusty blues samples.
On “Freedom,” we hear a more minimalist side of Rising Seed, with a tight brush-drum arrangement and densely layered sitar melodies. Another high point is “Soldier of Peace,” featuring even more funky sitar and a subtle acid line, reminiscent of the early days of big beat. It’s followed by “True Lies,” which elegantly distills the downbeat sound of the late '90s while staying true to the Rising Seed formula.
“Psych Jazz” is, as the title suggests, both psychedelic and jazzy, albeit with a somber, low-slung trip-hop feel, while “Don’t Worry” is equally trippy yet more upbeat, carried by a moaning vocal sample that urges us not to worry. Finally, “Stay with Me” closes the album with a jazz-infused vibe that is both moody and uplifting, its shuffling drum groove and elegant piano melodies providing a fitting conclusion.

Abstraxion unveils Void Sequence, a high-energy EP blending progressive house, early trance, and raw ’90s club aesthetics — featuring remixes by Bliss Inc. and Maruwa.
Out June 6th on vinyl via Biologic Records, the release delivers rolling basslines, hypnotic builds, and razor-sharp grooves — all engineered for peak-time impact.
A forthcoming remix EP will include Bliss Inc. and Maruwa’s unique interpretations of the original tracks.
Supported by: Jennifer Cardini, Massimiliano Pagliara, Alinka, Eoin, BELLA, Bliss Inc., Maruwa, Chloé, Pletnev, Bella Sarris, Blu:sh, Fabrizio Mammarella, Miguel de Bois...

With a deeply introspective and poetic essence built upon Monolink's layered vocals, spirited rhythms and poignant storytelling, "Powerful Play" invites listeners to embrace the fleeting nature of existence and immerse themselves in the beauty of the moment; his distinctive blend of electronic beats and raw acoustic elements serving as a perfect backdrop to the song's profound lyrical depth.

On the B-Side andhim rework the track with their signature blend of luscious grooves, refined electronica and subtle euphoria, breathing fresh life into the original. The remix plays with dynamics and space, pulling Monolink's haunting vocal lines through intricate rhythms, warm analog textures and a hypnotic build that carries listeners through an immersive sonic narrative. The duo's groove meets Monolink's elegiac depth, resulting in a track that's both club-ready and emotionally resonant.

Probably the finest work of Hector Rivera - Latin soul at it’s best. A non-stop
boogaloo party that never lets up with plenty of cha-cha and funky grooves.
• Two tracks taken from Hector Rivera’s debut album “At The Party with Hector Rivera”
originally released in 1966 on Barry Records.
• Remastered by Phil Kinrade and presented in a 7” Discobag sleeve.
• Part of the Demon Records Singles Club.

Wewantsounds is delighted to reissue another Warda classic from the 70s, We Malo, originally recorded in 1975 by the legendary Arabic Diva who has sampled by Jay-Z and J Dilla. The album blends traditional Arabic music with 1970s grooves, showcasing Warda's distinct vocal style. She is accompanied by a full-sized orchestra, updating the classy traditional sound with modern instruments (electric guitar, organ). We Malo was penned by composer Baligh Hamdi. This reissue features newly remastered audio, original cassette artwork and a two-page insert with a new introduction by Mario Choueiry from the Institut du Monde Arabe

The 2018 live performance captured on Carlos Niño & Miguel Atwood-Ferguson’s Chicago Waves marked another beautiful turning point for International Anthem. The set was recorded at our then HQ, Co-Prosperity, the day after Niño and Ferguson performed as part of Makaya McCraven’s Universal Beings ensemble to celebrate the release of his album by the same name and recreate their contributions to the music on the record’s “LA Side”.

The release of the recording as the Chicago Waves album at the height of the COVID-19 Pandemic drove home the unmistakable sound of togetherness audible in its grooves in a way that only a society trapped in their houses for a year can truly understand. But as that year fades further into the rearview mirror, Chicago Waves still maintains its power. It’s not a mystery—this is what togetherness sounds like.
The IA11 Edition LP features our IARC 2025 obi strip, plus a new 16-page 11x11" insert booklet with additional photos and extensive new liner notes by IARC co-founder Scott McNiece.

New Traditions is a collection of pipe music, electronic music, mouth music and folk music from five emerging and prominent Scottish artists.

It started in Sutherland with a recording of The Waters of Kylesku. “Do you learn any Gaelic at the school?” asks Hamish Henderson of Christine Stewart. “No,” she answers. “That’s a shame,” he responds, “Isn’t it?” she says. Then she sings. Her voice is of the peat itself, grown from the earth as the language was. It soars raptor-like above drenched ground and scoured pink rock.

Next, to Nancy Dorian, a linguistic missionary of sorts, who came from America to watch a language die. She charted the decline of Gaelic in a cluster of Sutherland villages from 1963 to 2020 when the terminal native speaker passed. Gaelic has origins in nature, with each letter of the alphabet named after a tree. It seems significant that the land of the north is now all-but devoid of forest.

Enter Alan Lomax, who travelled the world documenting indigenous music. Material from his archives feature on (fucking) Moby’s platinum selling Play. Despite the record’s worldwide commercial success we know very little of the music he essentially exploited.

Then musician Martyn Bennett, who built tracks around Lomax recordings of Scots and Gaelic voices, and did so with love that shared his blood with the cancer that killed him. His records both popularised and preserved obscure indigenous Scottish music.

This collection of tunes has similar intent: to consolidate ephemeral words in physical grooves - real as the rigs that still scar the earth - but also a desire to interpret. These versions have the greatest reverence for the originals at heart, but like the architecture of a great gallery, serve to protect and elevate.

A true Berlin-crafted gem: TMN013 comes as a hand-stamped white-label featuring two groove-heavy original tracks by Quadrakey, alongside two hypnotic and atmospheric remixes from Siggatunez that add a fresh perspective to the release.
Raw, deep, and built for the floor, this release delivers driving grooves with a clear dedication to the underground. House music with a deep passion.

LPV makes a striking debut on Monnom Black with an expansive double EP, delivering eight meticulously crafted tracks that fuse dub, bleep, and bass into peak-time weapons. His release showcases a dynamic range, from intense, Basic Channel-inspired dub techno workouts to deeper, bleep-laced techno grooves that weave hypnotic precision with relentless drive. Each track is a versatile cut, crafted for special moments, blending atmospheric depth with pure momentum, cementing LPV's arrival as a formidable force.

Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

Solid red vinyl, limited to 350 copies. Seven years after their last release (Helltown, 2018), Electric Citizen returns with their fourth album, EC4-a powerful statement of renewal and raw energy. Written by Ross Dolan with contributions from the full band, the album was meticulously crafted over several years and recorded with Mike Montgomery and John Hoffman at Candyland Studio in Dayton, KY. The album was mixed by Collin Dupuis (Lana Del Rey, The Black Keys) in Detroit and mastered by JJ Golden at Golden Mastering in California. The album art was created by Neil Krug (Lana Del Rey, Tame Impala, Weyes Blood), who the band worked with for their first album, Sateen. Now signed to Heavy Psych Sounds, the band is ready to unleash their most potent work yet-a fusion of hypnotic grooves, searing guitars, and Laura Dolan's mesmerizing vocals. EC4 is both a homecoming and a rebirth. Electric Citizen is back!

Jacy, hailing from Bari in Italy, delivers four brand-new deep house gems — moody, timeless, and crafted for both heads and dancers alike.
Blending warm pads, deep grooves, and hypnotic rhythms, Jacy brings a fresh take on classic house sounds while staying firmly rooted in the present. Each track carries his unmistakable signature — subtle, soulful, and built to last.

Parisian producer Bassam lands on somewhere… with a deep, hypnotic EP rooted in mental grooves. Three originals designed for intimate dancefloors, topped off with a remix from Voigtmann. No need to say more!

Reedale Rise has already made his mark with releases on Frustrated Funk and Delsin, but this latest release shows there's a whole new side to his sound. If you think you know him, think again. He's come through with three tracks of pure futuristic depth, all infused with Detroit influence. Envision Blade Runner-inspired machinery, deep house grooves and endless soul--this EP is a must for any true enthusiast. Detroit's Big Strick lays down his iconic tough-soul-house swing on the remix, completing a record that channels the lost history of underwater alien civilisations.

'Que Vida É Essa' is a certified samba-rock classic from 1973, taken from one of Wal's sought after 7"'s. Uptempo for the dancers, with percussive grooves, chic and even some wave sounds for extra sunshine vibe.

'Atôa Atôa' is a samba-jazz-fusion classic by Ronald 'Ronie' Mesquita, featuring Burnier & Cartier. Taken from the sought after 'Ronie & Central Do Brasil' LP on Tapecar. Previously unreleased on 7".

KITCHEN FUNK: The Groove Legacy of Funk, Hip-Hop, and House
Founded in 1999 in Lorient by Tabasko and Ramirez, key figures in the Breton underground scene, KITCHEN FUNK fuses hip-hop, soul, funk, acid jazz, and house music into a unique sonic universe. Combining punchy rhythms with captivating grooves, the duo made a name for itself in the 2000s, marked by the excitement of clubs and radio stations.

"LETUGO": A Forgotten Treasure Finally Rediscovered
Among their notable collaborations, "LETUGO," recorded with Karl the Voice, embodies the very essence of KITCHEN FUNK. This powerful track, blending funky vibes and soulful energy, didn't receive the promotion it deserved upon its release.

25 years later, the story takes an unexpected turn. After rediscovering local archives, RAMIREZ and JULIEN LO BONO decided to reissue "LETUGO" on vinyl to mark the project's anniversary. The initiative sparked immediate interest: Breton radio stations picked it up, and the record finally found its audience, proving that KITCHEN FUNK's groove is timeless.

A resounding success with "PUSSY CALL"
Before this resurgence, KITCHEN FUNK had made a lasting impression with "PUSSY CALL", a hit that received critical acclaim on Europe 2, NRJ, and RADIO FG. This success allowed the duo to sign with CHRYSALIS PUBLISHING and then 909 RECORDZ (WARNER FRANCE), confirming their place in the French music scene.

A promising future
And this is just the beginning... Boosted by this renewed interest, KITCHEN FUNK is preparing new projects, supported by Jean Jérôme, a key player in the success of "PUSSY CALL." A return to the stage is in the works, ready to rekindle the flame of funk, hip-hop, and house music for a new generation of enthusiasts.

Mit "Everybody Loves the Sunshine" (1976) vermischt Roy Ayers nahtlos die Genres Soul, Funk & Jazz und erschafft einen zeitlosen Sound, der Musiker und DJs auf der ganzen Welt noch immer beeinflusst, mit dem Vibraphon als zentrales Instrument, ein Ansatz, der Ayers einzigartigen Stil definiert. Im Jahr 1976 veröffentlichte der legendäre Musiker und Komponist Roy Ayers mit ELTS eines der bedeutesten Alben seiner Karriere. Dieses Album festigte nicht nur Ayers' Stellung als Schlüsselfigur in der Welt des Jazz, sondern markierte auch einen Meilenstein in der Soulmusik und im zeitgenössischen Jazz-Funk. Es zeichnet sich durch eine raffinierte Mischung aus unwiderstehlichen Grooves, sanften Melodien und einem einzigartigen Sound aus, der über die Jahre hinweg nicht verblaaste und für mehrere Generationen von Musikern und Hörern zu einer Referenz wurde. Mitte der 70er Jahre hatte sich Ayers bereits mit seiner Band Roy Ayers Ubiquity und seinem unverwechselbaren Einsatz des Vibraphons, das zu seinem persönlichen Markenzeichen wurde, einen Namen gemacht. Und mit ELTS wagte sich Ayers an einen noch zugänglicheren Sound, auch als Reaktion auf den Aufstieg von Disco und das wachsende Interesse an Musik afro-amerikanischer Prägung überhaupt. In den zehn Tracks des Albums schafft Ayers eine Klangatmosphäre, die sowohl die Wärme des Sommers als auch die Raffinesse des Jazz jener Zeit heraufbeschwört, alles vor dem Hintergrund des modernen Soul. Produziert von Ayers selbst zusammen mit seinem Engineer und Freund David R. Williams zeichnet sich ELTS durch den wunderbaren Klang des Fender Rhodes Pianos von Phillip Woo sowie die kraftvolle Energie der restlichen Band aus, wodurch eine unverwechselbare Authentizität und Frische erreicht wird. Zu den bekanntesten Songs gehören der Titeltrack, "The Golden Rod" und "The Third Eye", die schnell zu Klassikern des Jazz-Funk und Soul wurden. Dieses Album ist für Roy Ayers' Karriere von entscheidender Bedeutung, da es seine Fähigkeit unter Beweis stellt, in einer sich ständig verändernden Musikindustrie relevant und kreativ zu bleiben. Im Laufe der Jahre wurde "Everybody Loves the Sunshine" zu einem Kultalbum, das häufig in DJ-Sets von Künstlern wie Gilles Peterson, Theo Parrish und Lefto gespielt Verwendung findet. Der Sommer-Soul-Klassiker jetzt wieder auf klassischem schwarzem 180g-Vinyl!

Brownswood Remix Editions 006 continues the label’s tradition of outstanding remixes, revisiting its archives with a spirit of exploration and reverence. This latest edition focuses on Como Como by Mala featuring Dreiser & Sexto Sentido—originally featured on Mala’s acclaimed 2012 album Mala in Cuba—and presents both the original track and a striking reinterpretation by Theo Parrish. Together, they offer two essential cuts that embody Brownswood’s dedication to pushing musical boundaries.


Theo Parrish, a key figure in Detroit’s house and techno scene, is renowned for his deeply soulful, genre-blurring productions and DJ sets. His remix of Como Como draws on his signature style, combining raw grooves, layered percussion, and an expansive sense of space that reframes Mala’s original with hypnotic intensity and depth.

Nail Tolliday is a legendary figure in the UK electronic music scene, hailing from Nottingham, having founded the influential Velocet and 89:GHOST labels, and currently running the *In The Dance* label, Tolliday has played an integral role in shaping the sound of underground dance music, with a career that dates back to the early 90s, his impeccable reputation spans across a wealth of releases on renowned labels such as Classic, Robsoul, and many others, his discography is nothing short of extensive, earning him praise from some of the most respected figures in the electronic music world, including Andrew Weatherall, Colin Faver, Fred Everything, and Danny Howells, beyond his solo work, Nail Tolliday was also part of the iconic group Bent, and in a further testament to his versatility, he has produced multiple tracks for the globally celebrated Sleaford Mods, his sound evokes the essence of classic house and disco from the early 90s, reminiscent of the pioneering works of DJ Sneak, Romanthony, and others who defined the era's vibrant dance scene, this latest EP is a masterclass in the golden era of dance music, seamlessly blending early house vibes with sultry, disco-infused grooves, it exudes a timeless, classy funk that will captivate any dancefloor, the EP as a whole feels like a cohesive journey through Tolliday's rich musical influences, while also carving out its own identity in the modern dance music landscape, each track on the EP is an essential offering, « Shakey » delivers a funky, infectious rhythm that immediately commands attention, the bassline grooves effortlessly, while the vocal snippets add an extra layer of depth, creating an instant floor-filler, « Oh Well » takes a more melodic turn, with smooth chords and a sophisticated vibe, making it perfect for those late-night moments when the energy is just right, « All I Want » is pure house magic, with soulful, driving percussion and a hypnotic vocal that brings everything together in a silky, irresistible package, « Starz » brings an upbeat, celebratory feel, packed with infectious melodies and a buoyant energy that's impossible to ignore, « Feel Like » wraps up the EP with a deeper, more introspective groove, complete with subtle synths and a rich, atmospheric atmosphere that lingers long after the track ends, this EP is a true testament to Nail Tolliday's legacy, showcasing his ability to create music that is both timeless and relevant, his style, while deeply rooted in the traditions of 90s house and disco, is infused with a modern sensibility that proves why he remains a living legend in the dance music world, strikingly, his sound also recalls the work of another recent house maverick, Soundstream, with its deep, raw grooves and unapologetic commitment to the classic roots of house music.

Hackney Electronica come to Dark Entries with the Synaptic Shadows EP, featuring 5 cuts of acidic rave-inflected wave. Quinn Whalley (Paranoid London), Unai Trotti (Cartulis Music), and Margo Broom (Hermitage Working Studios) formed Hackney Electronica during COVID era. Trotti and Whalley were spending countless hours digging through records and making music during lockdown. As their sound took shape - heavy and hypnotic - they invited Broom to join, cementing the motley trio. The five pieces on Synaptic Shadows explore themes of altered states, late-night cityscapes, and the fine line between pleasure and paranoia. Each track pulses like a memory from the backstreets of Hackney, where the night transforms the city into an electrified maze of fleeting highs and inevitable crashes. The anxious grooves on “H.E. Nuestro Circuito” and “Whispers from the Depths” channel 1980s DIY electronics onto the contemporary dancefloor, while “Efecto Perfecto,” “The One”, and “Nueva Ola” offer breakbeat-laced electro that will keep you dancing until dawn. Housed in a sleeve designed by German Bardo, Synaptic Shadows is more than just a debut release, it’s a journey through the flickering alleys of the mind, where tension and transcendence intertwine.

Turquoise marbled vinyl. Handnumbered, limited to 200 copies. A bold new chapter in Stephan Thelen's sonic explorations, Worlds in Collision is a genre-defying fusion of polyrhythmic precision, hypnotic grooves, and experimental soundscapes. Inspired by the pioneering work of Brian Eno & David Byrne, this album pushes the limits of electric guitar textures, feedback, and layered rhythmic structures - bringing together David Torn's incendiary guitar work, Fabio Anile's rhythmic innovations, and Yogev Gabay's powerhouse drumming. Worlds in Collision captures the chaotic energy of Bullet Train, the eerie beauty of Voices from the Ether, and the intricate rhythmic interplay that defines Thelen's unmistakable style. Blending field recordings, speech samples, and complex time signatures, this album is an immersive journey into new sonic territory.

Orange vinyl. A bold new chapter in Stephan Thelen's sonic explorations, Worlds in Collision is a genre-defying fusion of polyrhythmic precision, hypnotic grooves, and experimental soundscapes. Inspired by the pioneering work of Brian Eno & David Byrne, this album pushes the limits of electric guitar textures, feedback, and layered rhythmic structures - bringing together David Torn's incendiary guitar work, Fabio Anile's rhythmic innovations, and Yogev Gabay's powerhouse drumming. Worlds in Collision captures the chaotic energy of Bullet Train, the eerie beauty of Voices from the Ether, and the intricate rhythmic interplay that defines Thelen's unmistakable style. Blending field recordings, speech samples, and complex time signatures, this album is an immersive journey into new sonic territory.

Als eine der einflussreichsten Bands, die aus der britischen Festivalszene hervorgegangen sind, überlagern die Ozrics Ambient und ätherische Landschaften mit Freeform-Dub-Trips, unglaublichen Rave-Grooves und psychedelischem Progressive Rock. Es ist eine offene Erkundung der Musik und der Seele.

Seit über 30 Jahren haben die Ozrics die Wechselfälle des Rock'n'Roll-Lebens erlebt. Die Band hat mehrere Besetzungswechsel durchlebt, mehrere Nebenprojekte hervorgebracht, ihr eigenes Plattenlabel gegründet, einen Hit gelandet und weltweit über eine Million Alben verkauft. Und doch ist die Grundmotivation hinter der Existenz der Band nie ins Wanken geraten.

Ihre charakteristische Mischung aus Hippie-Ästhetik und Raver-Elektronik mit spiralförmigen Gitarren, texturierten Keyboard- und Midi-Sampler-Wellen und super-groovigen Bass- und Schlagzeug-Rhythmen begeistert bis heute Fans auf der ganzen Welt.

"Curious Corn" ist ein klassisches Ozrics-Album, das Rock, Ambient, Weltmusik und gekonnte Basslinien mit einem Markenzeichen-Groove vermischt, der Fans an die bemerkenswerten Festivalauftritte der Band erinnern wird.