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American DJ Homicide aka Craig Anthony Bullock is best known as the former DJ for Sugar Ray but also does a fine line in club-ready hip-hop jams and remixes. 'Likwit Swordz' kicks off his latest on the small but well-formed CA label out of the USA. It's got nimble drums that have a clipped bounce and vamping chords, vocal grit that echoes Cypress Hill and an infectious roll. On the flip, 'Day Coastin'' is more deep and smooth - the bars as silky as BIG and the drums rolling with crisp boom-bap style. Both have been made on an MPC and that sampler's famous textures elevate the final jams no end.

Memento catalogue number 046 will be the first release of the label for 2022, a solid way to celebrate its sixteenth birthday.

Dj Rocca is a veteran Italian producer whose first releases came out in the late 90s, ad drum&bass and breakbeat cuts under the moniker Maffia Soundsystem, representing the legendary Italian club withe same name.

His four tracks for Memento are dance floor essentials grooves with a fine arrangement and an exquisite sonic flavour. Blending together retro drums and futuristic synth lines, dj Rocca has achieved to bring on vinyl a touch of freshness with a super organic arrangement.
A massive E.P. with brighter moments and darker excursions, bounded by a deep clubbing awareness.

repress !

We are happy to welcome NYC based DJ SPIDER and Berlin based
Franklin De Costa in the KILLEKILL family.

For catalog number 016 these two heavy weights of contemporary house music have joined forces to genetically modify their original sound and deliver 4 superdark and driving tools on the verge between techno and house - straight into the hands of the daring DJ.

Terrestrial Funk welcomes Parisian producer Raymond D. Barre with a fun exploration into FM Synthesis. Bouncing in that sweet sweet midtempo zone all six tracks squelch to your heart’s delight. Simply put, “light-hearted and good vibes electro acid tracks”, as Monsieur D. Barre described them when he demoed the tracks to Terrestrial Funk two years ago. But they’re much more. Perfect programming brings that slow swing, wonky warped vocals on songs like ‘Broken Nose’, and the bells that chime in the releases final song ‘Mes Bêtes’ leave you in a paradox of fulfillment and desire. That’s the best part, you can flip the record back and listen to the release right over. DJs and home listeners alike are in for a treat with this one. Heck, get yourself two copies and mix every track back to back in the club. We guarantee it’ll go off.

Big welcome to Time is Now for J Wax for a bit of a statement EP and I am coming out swinging here cos this is a really good record. There’s good, and then there’s this, the kind of good that stays good.

You know that feeling when something’s just right. When flow state becomes clarity. Well listening to this EP from J Wax gives me that feeling. This is proper Goldilocks business. It’s equal parts Gun Fingers and Loved up hugs. Just right.

By now we all know that something very special happens when Speed Garage collides with 1st wave UK Hard House - but - what makes this just right is that J Wax didn’t stop there, just like the Dutch 2nd Wave of Hard House he’s slid onwards into euphoric trance and oh boy am I here for it. In 1997 we got Double99’s Rip Groove and Nalin & Kane’s Beach Ball and for me this EP has as much in common with perfectly formed ‘97 Trance as it does with Speed Garage. Who says you can’t have it all!

We’ve been following J Wax’s output for years. He has been grafting hard. And for me he’s already firmly a part of the long lineage of globally significant Scottish party starting producers and DJ’s. So when we signed this EP to Time is Now I was gassed. Four big tunes. Sick EP. For me it’s crystal. J Wax is now a producer operating in rarefied air.

Run the Tracks….

A1. The dubplate of ’Peaches’ has been causing mayhem for a minute. Gliding in smooth before that big diva vocal screams down the bassline.

A2. J Wax tags in Edinburgh local RUA.DJ. The pair double up on ‘Shift’ for a slice of Trance infused but no-nonsense Speedy G. Reece bass & gun shots + bouncy synthline & ethereal chords. Lose it and yourself.

B1. ‘Soul Movement’ is a big room weapon. Serious levels on this one that leave no doubt - this is a producer at the top of his game, writing high energy weapons to destroy the dance.

B2. ‘Smokin’ is peak time bizness. Harder darker house with a diiirty dirty south vocal chop. This one is heads down & lock in…

Goldilocks.

Modern Hypnosis is proud to introduce Babaka, the new alias of esteemed German producer Jörg Müller.

Reigniting his passion for physical, visceral sound system music, Jörg uses classic analog gear and a few self-built instruments to create a unique, potent dub sound. While reminiscent of Jörg’s earlier ambient and dub techno styles on his 2019 album Drawn From Memory and 2022’s Groundworks LP on The Moth Club, his new direction has evolved those techniques and primed them for sound system use. His debut release as Babaka showcases four masterful tracks that differ widely from one another while remaining within his new realm.

The opening track, "Exterminating Angel," is a pulsating, supernatural dub experiment featuring a deeply infectious bassline, ghostly key stabs, tight percussive delays and an oddly dramatic vocal sample creating a profound sonic climax before tapering off, allowing you to escape its vacuum and recalibrate. The most skank'n track of the EP, "A Bug in the dark" with its murky half-time swagger feel, bouncy hats, dub saturation and mega sub-driven riff has become an all-time favourite at Modern Hypnosis HQ.

Featuring precise production with decorative atmospherics and swung drums, "Woodsman Blues" has an almost Boxcutter feel to its intro before plunging off the deep end, hitting the dub floorboards, and revealing its true self as a reincarnated, stoned dubstep track. Closing out the release is "Hysteria," a perfectly executed, dark, chugging techno steppa that remains a popular track for many early-access DJs and selectors around the globe.

In the words of Jörg Müller himself:

After my first Album "Heavy Heart”, I tried to push my music more into abstract territory, especially sound-wise, ignoring mixing and mastering rules... this culminated in the eerie, roomy, off-atmosphere on "ground works" on The Moth Club.

After that, my focus shifted further towards freeform electro-acoustic ambient music. I built a couple of instruments myself and released two albums on Shimmering Mood as Kaleidophon. This was during the pandemic as nightlife came to a stop.

In 2023 and 2024, I started to go to dances again. I saw The Bug on his Pressure System, Al Wootton at Meaksuma Festival, Channel One and Iration Steppas on Young Veteran Hifi Soundsystem. Especially impressive were Mark Ernestus, Mark Ainley and Aba Shanti on the infamous sound system at Open Ground in Wuppertal.

This reignited my passion for dub/sound system music; I wanted to make tracks with the physical, visceral quality of sound systems.

The Return of The Vagabond – Revisited! On The New Way
There are figures that do not belong to any single era. They traverse .me, watch the world evolve, and
con.nue their journey guided by a singular compass: music.
Born from a concept by Use Vinyl Records, The Return of The Vagabond – Revisited! On The New Way is a
compila.on that sets the "Vagabond" back in mo.on—an iconic symbol for those who live music as a
journey without boundaries of .me, genre, or genera.on.
His return takes shape through a curated selec.on of .meless interna.onal disco, funk, and rock classics,
reinterpreted with fresh soundscapes while remaining deeply faithful to the spirit of the originals. This
musical odyssey is helmed by Daniele Baldelli & Marco Dionigi, Marco Fra=y, (Ino)2, DJ Mauri, and
Corrado Pres@, proving that great music can transcend .me, reinvent itself, and con.nue to inspire.
More than just a compila.on, The Return of The Vagabond – Revisited! On The New Way is a sonic voyage
that rediscovers legendary tracks through a modern lens. It is a project that demonstrates how authen.c
music never belongs to the past: it evolves, changes its skin, and con.nues to resonate deeply with the
present.

Digital here...

After a couple of years building WREKT in Ipswich, it feels like the right time to take things a step further.

Tom from Red Eye Records and I started WREKT to bring artists we love to Ipswich, alongside some of the best local DJs and MCs. So far we’ve had Grooverider, Bryan G, Fabio, Storm, Sully, MC Blackeye and YT, with Jumpin Jack Frost and MC Moose up next.

Now WREKT is becoming a label.

For the first release, I’ve teamed up with Coco Bryce for four jungle tracks covering different tempos and flavours. We called the project CBD — Coco Bryce & Digital. It was too good not to use!

WREKT started with the nights, and turning it into a label feels like the natural next step for Tom and me. We couldn’t think of a better way to kick it off than this release with Coco.

Helsingborg music hero known locally as DJ Jespha Galore strikes back with a EP containing 6 perfect length tracks somewhere in the borderlands of acid house and electronic disco. Instant 90's vibes without feeling retro and all recorded early 2026 in his new studio housed in an old cinema lobby downtown Helsingborg. These are spontaneous and raw instinct productions from a man who lived thru the 90's behind the turntables at underground parties and still doing it to this day. Highly recommended! -Joakim Cosmo

The almighty Joe of the Farr’s is a highly accomplished UK techno DJ, producer and mastering engineer. Originally associated with Bristol's electronic music scene, Joe studied TV and film sound design before building a solid reputation through hard-hitting, technically sophisticated techno releases on labels including Turbo, DSNT, Bloc, Soma and Power Vacuum. His concentrated output combines aggressive club-focused rhythms with melodic and IDM-inspired elements. Now based in Wales, performing internationally and on home turf, he also operates a professional mastering engineering operation of the highest esteem of which RIOT could simply not operate without, as many others will gladly attest too.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve finally let loose the screamer of a release, from such an integral member of RIOT HQ, that’s been patiently ‘Left Alone’ and waiting for the right time to unleash its User Experience. Joe’s totally went one step beyond and cranked out a pressure filled release of not only persistent anthemic prowess but one of such rigorous determination, all those on the dance floor MUST ‘Obey’ to its diligent beats. And with Rant & Rave Records boss Maedon serving up such an iconoclastic relentless remix, you will absolutely need to submit complicitly to all things RIOT.

The full digital release also features two bonus meticulously disciplined tracks to fulfil your obedient, subservient requirements.

WARNING: NON STOP BREAKIN’ N’ STOMPIN’ N’ BOPPIN’ TO THE RIOT BEATS WILL MANIFEST ITSELF

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

COCAG003 is the third release from Tokyo-based vinyl-only label COCAG Records.
The release features two tracks by Tokyo-based DJ and producer Shimpei Watanabe and is limited to 300 copies.
Built around house music, both tracks explore minimal grooves and extended, DJ-friendly arrangements.

For UnExposed Records first vinyl release, Uruguay’s Marcos Coya wanted to show the world a different side of his artistic approach. In a world of monotonous copy/paste, Marcos wanted to bring something unique to the table. A compilation of spacey, dreamy & emotional tunes custom built for the dance floor yet still experimental as well. Deep grooves & long developments. No fluff. No overbearing bangers. True underground production principles. Crafted for those with a refined palate.

The A-side is dedicated to Marcos Coya’s four to the floor production work. This sonic expedition begins w/ a bang: the record’s title track “Moon Trippin”! A showcase of freaky melodies accompanied by groovy percussions which bolster a vocal of Prince speaking his mind about the true essence of creating musical art & his disdain for mainstream music industry critics.

“Delirium” closes out the A-side w/ a dreamy acid house tune adding an emotional touch to the record. After hours material. A real step forward for Marcos and his production work. Leaning heavier than ever into trusting his melodies. Taking a bit more risk with his approach by creating something you’ve never heard from him on any of his nearly 20 vinyl releases over his career.

For the B-side we shift over to a more breakbeat approach with 2 absolute heaters. B1 introduces the track Hearthug has claimed to be one of the tracks of the year: “Rage Dog”. Rage Dog is a Marcos Coya signature track due to its rock & hip hop influences developed during his adolescence. Marcos even purchased new synthesizers specifically to improve this track & its melodies. The cherry on top is the vocal from Rage Against The Machine’s front man, Zack de la Rocha, which adds a rebelliously political undertone to the record, something UnExposed & Marcos both are very proud to address w/ passionate conviction during this time of war and injustice.

We close out the record with “D.N.A.”, the most experimental piece of art on this vinyl release. A wild combination of breakbeats, guitars, melodies & crazy vocals. The perfect bizarrely fascinating conclusion to this wild trip to the moon and back.

Early support from heavy hitters such as: DJ Koolt, Anthea, Velasco, KT, Hearthug, Mario Liberti, Daïf & many more!

The year was 1989, and Derrick May was at a creative peak as both a DJ and producer. Under his Rhythim Is Rhythim moniker, he released a string of landmark records on Transmat, while his residency at Detroit's The Music Institute showcased the distinctive DJ style that would soon take him onto the international stage. Around the same time, he hosted a weekly radio show on Detroit radio station WJLB, alongside influential programs by The Electrifying Mojo and The Wizard (Jeff Mills).

For one of these broadcasts, May assembled a 15-minute megamix in his studio during the week leading up to the show. He opened his radio set with this continuous mix, blending his own tracks and versions into a seamless introduction that reflected his approach to DJing at the time. It includes unreleased versions of classics such as ‘Nude Photo 88’ and ‘Strings Of Life’.

‘All of this is unreleased because I made it as I was playing it on the spot as a special Mayday Mix for my show on the radio station WJLB in 1989, edited together straight from the keyboards live to tape. There is no other recording of these tracks in this form, only here’.

The original WJLB master tapes have since been lost, and no official recording is known to survive. Fortunately, many listeners recorded the broadcasts at home. One such cassette, preserved by Richie Hawtin, eventually made it our way. It has been carefully restored and mastered, with the artist’s approval.

To highlight this remarkable document of techno history, the recording is now available as a limited-edition, one-sided 12-inch release. The mix has been cut as a continuous side, visually divided into eight sections, while the reverse features a custom engraving.

Life In Patterns welcomes Uncertain for his first appearance on the label with “Defeat”, a five-track EP bringing together five warehouse-focused techno tracks, moving between darker industrial tones and the classic rave influences that have long been part of his sound. “Defeat” will release on vinyl and digital formats on 16 October 2026. Across the EP, Uncertain explores a broad range of peak-time energy. “Anxiety” and “Dismiss” take a darker route, built around tense atmospheres, heavy percussion, and industrial textures, while the remaining tracks introduce classic rave chords and a more open, melodic character. Despite the differences in tone, the five tracks share the same directness and focus, designed with the dance floor firmly in mind. Uncertain, formerly known as Boriqua Tribez, has been active in electronic music since 1989. Over the past two decades, he has released and remixed more than 50 tracks for labels including KMS, Recycled Loops, and Ingoma, before starting a new chapter under the Uncertain name in 2018. Since then, his more frantic approach to techno has found a home on labels such as Rekids, Symbolism, Beard Man, H-Productions, WRKTRX, ANAOH, Illegal Alien, Mind Medizin, Intec, and Uncage. Alongside his productions, Uncertain is an experienced DJ known for fast, precise three-deck sets, with international performances and support from artists including Ben Sims, Radio Slave, Truncate, Mark Broom, Carl Cox, Blasha & Allatt, Chris Liebing, Richie Hawtin, Luke Slater, DJ Rush, DJ Bone, and others. With “Defeat”, Uncertain makes his Life In Patterns debut with a focused collection of five techno tracks — from dark industrial pressure to classic rave energy, all built for the warehouse.

Following hot on the heels of the Frequency Damage EP, DJ Quest returns to Cyberfunk with Squeaks / Snake Style— a two-track release that dives deep into the unmistakable sound that made Quest’s productions stand out during the early 2000s.
Rather than simply recreating the past, both tracks tap directly into the DNA of the original Cyberfunk sound: rolling breakbeats, huge basslines, twisted analogue synths and the kind of distinctive production that became synonymous with DJ Quest at the height of the Bassline Breaks era.
Built around original analogue synth work throughout, Squeaks / Snake Style is a deliberate throwback to the raw, futuristic sound of the early 2000s, produced with the weight and clarity needed for today’s sound systems.
It’s classic Quest, strange noises, big bass, rolling drums and plenty of attitude.

A. Squeaks
Everything DJ Quest became known for rolled into one track. Squeaks is an unapologetic throwback to the classic Quest sound of the early 2000s, driven by heavyweight breaks, deep bass and original analogue synth work throughout.
Twisted electronic squeaks and evolving analogue sounds weave their way around the drums, giving the track that instantly recognisable combination of funk, darkness and futuristic weirdness that characterised so many of Quest’s early productions.
Raw, energetic and built firmly for the dancefloor, Squeaks takes the spirit of the original Bassline Breaks era and brings it straight back onto a modern sound system.
AA. Snake Style
On the flip, Snake Style takes the same analogue-driven approach but moves into deeper rolling territory.
A more hypnotic, heads-down breaks roller, the track develops around a heavyweight bass groove, rolling drums and constantly shifting analogue synth lines. There’s less emphasis on the immediate impact of the A-side and more on building a groove that locks into a DJ set and keeps moving.
Still unmistakably Quest, Snake Style combines the rawness and character of early-2000s breakbeat with modern low-end weight and production, proper rolling Cyberfunk business.
Special Vinyl Edition
Making this release particularly special for collectors, the 12” vinyl comes with an exclusive book showcasing the artwork from some of DJ Quest’s biggest and most memorable releases.
The book looks back through Quest’s extensive catalogue and the visual identity that accompanied the records, bringing together a selection of classic release artwork from across his career plus photo collages of memories made across his journey.
It turns Squeaks / Snake Style into more than just a new DJ Quest 12”, it’s also a celebration of the music, artwork and history surrounding one of the original pioneers of the Bassline Breaks sound.
For long-time followers it offers a piece of Quest history alongside two brand-new productions, while newer listeners get an introduction to the catalogue and imagery behind the sound

Back from ‘96 — Abacus’ legendary The Abacus EP returns, now reissued as Erotic Illusions. Deep, soulful and hypnotic house at its finest, straight from the Guidance era. Pure timeless heat — grab it before it vanishes again.


DJ Feedbacks :

Laurent Garnier : Classic <3 <3
Nick Hoppner : OOOOOH YES
Dan Beaumont (Chapter 10 / NTS) : Decadent dub for me! lovely
Louise Chen (NTS) : Huge fan, this is a wonderfully sexy reissue!
Joel Martin (Quiet Village) : Timeless Classic from one of the masters - Essential!
Kölsch (IPSO / Kompakt) : Still sounds so fresh
Sven von Thuelen (SVT / Work Them) : Sublime!
Josh Wink (Ovum) : Sounds just as great as when it first came out!
Satoshi Tomiie (Abstract Architecture) : Soooo good! Every details tuned precisely
Carista : sickkkk
Crackazat (Freerange / Local Talk) : yes. of course
Anthony Collins (Frank & Tony / Scissor & Thread) : fantastic record
Hunee (Rush Hour) : classic!
Call Super (Houndstooth) : lovely thxxx
Erol Alkan (Phantasy Sound) : Downloading Thanks!
Radio Slave (Rekids) : Such a big fan !!! Full support and congrats on the re-release. Peeps need to know about "Abacus".
Ben Sims : Now downloading... will check asap!
nd_baumecker (Ostgut Ton) : YAAAAAS! Finally I have this in a better quality than my vinyl rip from the original 12". Vinyl is preordered. Thanks!
Jonnie Wilkes (Optimo) : SEMINAL.
Lawrence (Dial) : OMG Fave Classic!
Fouk (House of Disco / Razor N Tape / Room With A View / Heist) : Ooooh yes! <3
Hector Romero (Def Mix) : Love it. H
Aleqs Notal : Lovely repress
Alinka (Twirl / Classic / Crosstown Rebels / Batty Bass) : Beautiful tracks
Terry Farley : fantastic reissue for those that missed the golden era
Ian Pooley (Pooledmusic) : Sooooooooo good !
Marcia Carr : The Dub without a lot less of the sleazy vocal is cool.
Nick Holder : FIRE
DJ Bone (FURTHER) : Poetic Illusions and Decadent Dub both work for me.
Nat Wendell (Depth of My Soul / Courtesy of Balance / Love & Loops) : classy!!
Luke Solomon (Classic / Freaks / Music For Freaks) : absolute classic Kenny Hawkes special xxx
ROD / Benny Rodrigues : !!!!
Domenic Cappello (Subclub) : still sounds fresh
Alexkid (Rawax / FUSE / NG Trax) : Total Dopeness
Jimpster (Freerange) : An absolute classic from the golden era! Got the vinyl but I'm sure these new masters will sound better than my well worn vinyl rip! Will keep on banging this beauty.
Bake (All Caps / Rinse FM) : the best! thank you for reissuing :)
Dj Deep (Deeply Rooted) : Nice to see this beautiful release available again
Kai Alce (Real Soon) : CLASSIK!!
Mr. V (Sole Channel / Strictly Rhythm / Salter / Defected) : Solid work on this classic Thanks
Baby Rollen (Holding Hands / Slump / Futureboogie) : timeless
DJ Gregory (Point G / Faya Combo) : Alwayes loved that classic
Tom Esselle (YAM / Rhythm Section / WOLF Music) : Killer reissue!
Harri (Sub Club) : nice, will play and support
Hifi Sean (Defected / Plastique) : Diggin' this dub big time
Jenifa Mayanja (Bumako Recordings) : This reissue sounds just as good second time around. Straight dance floor magic. Moody and dubby perfect to zone out to in a dark corner somewhere.
Demuja (MUJA / Let's Play House / Madhouse / Freerange) : nice!!
Marcel Dettmann : thx
Kosh (Syncrophone) : doesnt get any better than this
Dj Hutch (Ambers / Rinse FM) : Lovely deep business! Thank you!
Geir Aspenes (G-Ha / Sunkissed) : Kool, thanks
D'Julz (Bass Culture) : classic alert!

The fifteenth release of Barro comes with an exclusive: behind the Transylvanian mask of Orlok 101 lies Nöle himself, the boss of the label.

Remember that he used this vampiric AKA to kick off Barro—his The End Of The Beginning being the first release, published in late 2018. That same year, his techno-industrial sound—packed with references from the famous work of Bram Stoker and nightmare atmospheres—helped launch another label: Soil, the Valencia-based imprint, with a project that included a suitably fitting remix of The Horrorist. The following year, he released an EP with five original tracks, titled Runaway, while also “spreading blood” on Antikhrist Visions Vol I alongside his Industrias Mekanikas comrades.

His dark influence has been felt across Barro’s catalogue, whether through his own tracks or remixes—sinking his teeth into artists like The Hacker (under his real name, Amato) or Nebula Circuit. In 2025, Orlok made his debut on Aspecto Humano with a powerful EP, equally gritty and dark. In Barro, we’ve recently had Nöle—the most techno side of Imanol Pagola—with the EPs Electro Bloody Music and Demencial Chico Aceleradom, two great showcases of his ability to keep us dancing nonstop, following the popular Mendekua, released by Xtraperlo.

For Barro 15, the two sides of the producer and DJ come together on this EP, titled Sex With a Cop—four tracks released on vinyl and digitally, plus an alternate version of the final composition as a bonus track.

Nöle's knowledge of the dancefloor and Orlok 101's ability to create atmospheres that will give you goosebumps come together on this EP to create an explosive mix.

Sex With a Cop starts with Hilerri, a techno EBM track where Orlok provides repetitive, screeching sounds and a ghostly melody, while Nöle adds incisive synths and a catchy, addictive vocal sample that warns you of the danger of the material you’re listening to. Orlok then takes over with his industrial and metallic sonorities on the next track, Amets Fabrika, although Nöle’s influence still comes through with his powerful bass and addictive synth lines. A stifled scream and a production packed with a thousand details create an unsettling atmosphere that will surprise you on the dancefloor.

The flip side begins with No Voy A Quedar Con Nadie, a track closer to Nöle’s technooid world. Even with its unsettling opening, it doesn’t take long to turn into a danceable bomb, with that dark touch typical of the Navarro producer.

Surprisingly, he saves the best for last: Harina de Huesos Humanos is one of the most interesting tracks created by Imanol Pagoda, and we can hear it in two versions, one as a bonus track. Thanks to complex production full of details and sounds that come and go, a punchy, hard as granite kick drum, and a carefully crafted industrial atmosphere, it all ends up being the perfect union between the two sonic worlds. A spectacular finale for the label’s fifteenth release.

DJ Support: Dj Harvey, Bicep, TEED, Sarah Story, Joe Goddard, Make A Dance, Dj Subaru, Demi Requismo, Horsemeat Disco, Greg Wilson, Crazy P, Justin Strauss, Sean Johnston (ALFOS), Masilmiliano Pagliara, Red Rack’em Jordan Nocturne , Gina Breeze, Heidi Lawden, Eugene Whang, Neil Diablo, Gina Breeze, Marcel Vogel.

After a mysterious hiatus, one of The essential edit labels of the 2010’s has returned just as inexplicably as it disappeared..

The previous 4 volumes now change hands with private collectors for $$ .. These limited run edits will no doubt sell out in similar fashion..

The A side see’s the most dance floor oriented but often over looked track from Bjork’s album Debut receive the DJ edit it always needed . A2 a unique rework of a very rare nrg record that started out like as Aerobics accompaniment album..

On the Flip B1 take Turn toward the Funk , PBR giving the heavy dub treatment to one of The Whispers most criminally ignored tracks. Rounding things off the B2 drifts into the work of wonky, sleazy Italo.. Magari uses the little understood “wrong speed” technique to sublime effect, combined with some extra synth work it delivers a an entirely different track…one for the heads..

Ąnis is a Lithuanian producer and DJ working in the space between broken rhythms and atmospheric weight. His tracks blur the line between club tools and introspective pieces - raw, textured, and unpolished in the best way.

Ąnis’ debut album “I Swear I’m Not Delusional” builds from late-night sketches into fully formed pressure systems. Ambient passages fall into break-driven grooves, each track shifting like a mood swing. It's rooted in tension, repetition, and space - think the grit and movement of early Skee Mask filtered through a more personal, less polished lens. Tracks like “Mountain People” carry warmth without needing to explain themselves, while others feel like they were made at 3am with no lights on. It’s not chasing a scene - just locked into its own pulse. This isn’t background music. It asks you to sit with it - or move to it. Either way, it sticks.

Credits
Original tracks written, produced, arranged and recorded by Jonas Zubavičius in Vilnius. Mastering by Pranas Gudaitis aka audiomastering.lt. Artwork and design by Povilas Baranauskis.

Asphalt DJ lands with his second outing on Sentiment.

Following a more Detroit house & techno oriented first release, this EP fi nds itself in four club-focused, yet deeper house tracks. - - - - - - - - - - - - - - - - - - - - - - - - - - - - Sentiment is a label born from admiration for those who came long before us, who were driven by curiosity and experimented with early-day machinery. We want to create a home for music that carries that same spirit. A home founded on the bricks of house and techno and built together with artists who inspire us. Feel free to join building.

Yesca is back on Shall Not Fade with ‘Paint on Walls’ 12” EP.

2024’s Yesca EP on SNF - “Mood Loops” - set a high bar, so when we say this record is something special you should take note. Of course if you already know Yesca’s music or have had the pleasure of a Yesca DJ set then you will have already this queued up.

Sweet Spot: Ben Sims, Deetron, Oliver Ho, Vince Watson, Grain (Artwork’s Techno alias). Planet-E, Primate Recordings, Paul Mac & Stimulus Recordings found the sweet spot.

According to the OED the first use of the phrase “Sweet Spot” was in 1976 in reference to tennis rackets and golf swings. It’s where everything hits just right. And that’s what this EP does, hits just right. What strikes me is how descriptive the phrase ‘Sweet Spot’ is. Given enough swings and some luck we all know what it feels like to hit the sweet spot in some regard. Finding the sweet spot regularly though takes time and skill. But being able to hit the sweet spot by design every time, well that’s something different. That’s what makes the greats great.

For us at SNF there’s a consensus that in the lineage of electronic music there have been many moments where artists & labels converged on a sweet spot. One such sweet spot for us is in Techno
around 2003 when at the tail end of Hardgroove tempos began to slow and a groovier more refined tech house infused goodness appeared in the racks from a group of killer techno labels & artists (some mentioned above) that moment before the fuller emergence of the 2nd wave of Tech House in the mid 00’s.

That sound, while often emulated, never quite hit the same for us at least – until Yesca came along. His music has everything that we love about that sweet spot. Raw driving groove, rolling basslines and hip shaking percussion. What’s different on ‘Paint on Walls’ is that Yesca stepped on - he had already found the sweet spot on 2024’s Mood Loop EP - now his sound (or swing) is natural. Repeatable, refined and seemingly effortless. To revisit the tennis and golf analogy, this is the start of a Grand Slam run from an artist ready to etch their name in dance music history. Tiger..... Serena......Yesca.

Run the Tracks:
‘How I Do It (They Wonder)’ - A masterclass in less is more, and a serious DJ tool. Full of groove - slow it down and it will light the touchpaper in a house set - speed it up and you’ve got techno weaponry. Forget gatekeeping, this will make you feel like you just found a 2004 techno white label from the likes of Grain or Ben Sims.

‘I Desire’ - House music that I reckon Deetron would be proud of... Blissed out machine funk, whispered vocals, slick jazzy chords and dubbed out techno stabs are all grounded by Yesca’s impeccable, loopy drum programming. The best tunes always end too soon.

‘Domination’ - The ever rising bass, err, dominates this track and this track will dominate on many a dancefloor, but Yesca's knack for dubbed out swinging synth lines has to get a shout out here too. He turns what would be melodic elements into what feels like part of the percussion. Double Threat. Hands Up and Heads Down business.

‘Paint on Walls’ - It would be a tough call to say Yesca’s saved the best til last with the EP’s eponymous track given what’s come before, but Paint On Walls works all the highlights from the rest of the EP into a latin techno/house infused anthem. Skittering percussion, a hint of Detroit goodness and a deep deep rolling bassline and THAT vocal. In every way hopeful yet resistant, and that is what techno is all about.

San Francisco electronic pioneers Darwin Chamber and DJ Spun head down the arcade for four tracks of the unmistakable flavour of modified 8 Bit sound chips from the 80s. 'LFO's Are Real' definitely nods to the Leeds duo that kicked the Warp Records revolution off, but that's just a starting point for some rough edged electro machinations and some spooky extra-terrestrial samplings. '8-Bit Phantasy' connects Chicago-style piano magic with acid undertows and gets brought to dancefloor life by a serious injections of funky ass breakbeatery. 'Intruder Alert' is the gnarliest of the lot, the bass end nothing if not speaker threatening, before 'We Gotta Get' is wonderfully disorientating disco dub delirium. Raw and direct, this will set the floor alight quicker than a can of petrol and lit match.

Following the reissue of Fire & Sugar (1975), we present a special 45 focused on two standout tracks from the album.

If you’ve heard the album, you already know “Guaguanrock” had to make it to our favorite format. So here it is on 45.

Side A features “Guaguanrock (Le Spam Mix)”, a new version by Andrew “DJ Le Spam” Yeomanson, created from the original multitrack master tapes. The mix extends the intro break and brings the drums forward, enhancing the track’s raw, percussive energy for maximum dancefloor impact.

On the flip, “Bokolo” delivers a deeper, hypnotic groove, showcasing Caunedo’s unique blend of Afro-Cuban rhythms and jazz-funk textures.


A DJ-focused release, bridging rare groove authenticity with modern playability.

Halloween 7" single with two non-album tracks for DJ's and collectors

Radio airplay by DJ's and radio shows throughout Europe & US

Single promoted by a two-week tour with shows in Germany, France and Spain

Rare collaboration featuring Monty Neysmith, composer and founding member from Symarip, one of the best-selling bands in the history of Trojan Records

Artwork by Malwina from Old School Design (Cock SParrer, The Dronws, Seven Letters, Booze & Glory)

Produced by Boss Capone (Stranger Cole, Lee Perry, Keith Rowe, George Dekker)

A stylish selection of city pop, funk and modern soul from Japanese label Nippon Columbia, selected by DJ Notoya and featuring cult classics and rarities by Hiroshi Sato, Hatsumi Shibata, Hitomi 'Penny' Tohyama & many more.

Annotated by Notoya with journalist Nick Luscombe and artwork by Optigram.

Newly remastered audio.
The selection on ‘Tokyo Glow’ starts with 'Kimugare' a relaxed mid-tempo track by Kumi Nakamura, actually a famous actress who only recorded one album in 1980 for Columbia.

The set continues and flows effortlessly with the sunshine grooves of Miyuki Maki, Hatsumi Shibata and cult keyboard player Hiroshi Sato before the pace starts going faster and funkier with New Generation Company, Kengo Kurozumi - with his superb boogie, 'Juggler'
- and one of the queens of the genre, Hitomi 'Penny' Tohyama with 'Tuxedo Connection'.

Another fine example on the set is the mid-tempo groove of "I Wander All Alone Part III" by New Generation Company, an aggregate group of some of the best Japanese session musicians led by arranger Katz Hoshi and including Hiroyuki Namba (key), Kazuo Shiina (gtr) and Yutaka Uehara (ds) who all played with Tatsuro Yamashita among many others.

There are many other excellent examples in 'Tokyo Glow', showcasing the diversity and specificity of Japanese City Pop during the late 70s and 80s.

Nippon Columbia opened their much-guarded vaults to curator DJ Natoya. Tracks were remastered in Tokyo and the result, ‘Tokyo Glow’, is a unique insight into a most creative period in Japanese music.

Kick'n Dance Records strikes again with it's third release, "Vert Emeraude EP" by
parisian producer Lucas Moinet. Infused with nature sounds, deep atmospheres
and jazz elements, this four-tracker goes from spiritual jazz deep house to club
groove with a distinctive french signature. All tracks were composed and recorded
by Lucas Moinet at Studio 937, with a traditional 90's house music set up. "Vert
Emeraude" & "Dark Woods" are paying tribute to the sound of the infamous Dance
Culture party at Djoon and it's dancers community. On the other hand, "The Deep"
explores deeper territories while "Franklyn Avenue" brings more energy to the
record, with a faster and powerful track. For the ones into deep chords and
musical explorations

2026 Repress

Rotterdam Electronix continues their journey in the realm of Electro teaming up with profound producer and city inhabitant Versalife. The Crack City EP contains four versatile Electro tracks with each a distinct mood that covers the different elements of the harbour city in presents times. hard, rough to playful and joyful. inspired by the likes of E.R.P. and Ectomorph, and for lovers of Der Zyklus and DJ Stingray.

American DJ, producer, and Ovum label boss Josh Wink remixes Chris Liebing's 'Eye C' via CLR on 25th September 2026, one of the standout tracks from Liebing's first fully solo-produced LP, 'Evolver', which landed in March. The album featured collaborations with the likes of Luke Slater, Charlotte de Witte, and Daniel Miller, with Josh Wink the latest to rework material from the project. The Philadelphian is an electronic music veteran who has shaped countless releases on his own Ovum, while also remixing the likes of Depeche Mode, Moby, and Radiohead.

Josh Wink showcases his production skills once again with a blistering take on Chris Liebing's 'Eye C', rewriting it with fizzing synth modulations and prickly acid lines. The track grows in intensity as rumbling drums march on, and the synths become ever wilder before pulling back into a deep, atmospheric groove, rebuilding beneath the menacing vocals and icy, incendiary hi-hats.

The original version of Chris Liebing's 'Eye C' is a deep, rolling techno masterclass with pulsing synths and deft percussion peeling away from the groove. It's linear and heady, perfect for the small hours, with unsettling vocal fragments refracted around the mix and subtle hypnotism floating overhead as the drums grow ever harder.

Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.

2026 Repress!

OFF / GRID makes a captivating debut on Life In Patterns with his 'Sonic Spectrum' EP. Previously recognized as an underground gem in the techno scene due to his acclaimed, self-released EP, 'Time To Shine,' the Hamburg-based producer has garnered significant attention in 2023 with EP releases on labels like Planet Rhythm, Uncage, DifferentSound, and Entourage Concept.

On LIP009, he presents four meticulously crafted vinyl tracks and a digital bonus track, each a testament to his remarkable talent for creating hard-hitting, euphoric DJ tools. His music is distinguished by cutting stabs, hypnotic acid lines, and a distinct dub influence, all seamlessly woven together with powerful drum sounds.

In a blizzard of crushed breaks and dissonant tones, Shelley Parker lands on Sneaker Social Club with her third album, Screed. Taking a forensic approach to noise sculpture and harmonic interference, the UK-based artist maintains a fringe perspective on the legacy of hardcore-derived dance music, extrapolating the renegade spirit of the earliest innovators into unexplored zones where sound art and sound systems collide.

Parker's path through the underground has been informed by her art school background, equally at home in the parallel world of galleries, installations and institutions as she is in the club. This dualistic dimension to her practice charges her music with an outsider spirit that manifests across 10 striking new productions on Screed. Focusing on the sound over an umbrella concept, it's an album that rejects comfortable, functional formulae in favour of original expression.

There are plenty of forthright structures for DJs and dancers to lock onto, from the militaristic techno thrust and tightly clipped breakbeat loop of 'Relentless' to the splayed boom bap guiding the giddy string sequences of 'Stargazer Lily'. The insistent pulse of 'April' meanwhile offers only the faintest of paths to navigate dense thickets of jerky, swinging static and metallic clamour. 'Georgian Wire' closes the record out on dissembled drum licks with a brittle patina - a scooped out closer with the skeletal remains of a rave dialect that's second nature to someone with as much skin in the game as Parker.

In amongst those tracks lies a wide-ranging tapestry of rhythmic, textural and emotional approaches, from head-knocking beatdowns to billowing clouds of dub techno, angular stabs and industrial smudges. On Screed, Parker proves herself to be peerless and purposeful in her quest to find new forms within the well-worn canon of hardcore and rave.

With her fifth solo studio album, Half An Owl And A Full Moon Rising, landing on Dekmantel Records, Steffi harnesses the energy of the dancefloor for a powerful, uplifting ride into the core of what makes this culture so transformative. From her years as a dedicated raver in the late 80s, through to her global tours, prolific production and ceaseless love for music in its many forms, Steffi's innate understanding of the dancefloor informs this new body of work. Key to all of this is the joy of the club experience: the high energy and the vibrational field that's created when the DJ, their musical selections and the dancers align on the same wavelength. The "Feel Factor" as she calls it. Even the title is a reference: half an owl meaning half a pill.

Each track is imbued with pure, unfiltered club energy. Steffi's approach with her albums is to start from scratch, working up and out from a core idea rather than compiling music from an existing collection, and Half An Owl And A Full Moon Rising is comprised of eight cuts, whittled down from over 40. Opening with 'The Rolling Wave', the album immediately transports the listener into a world of emotionally and physically moving soundscapes. Across all eight tracks Steffi weaves together potent drum programming with ethereal pads, strings, heartrending melodies and straight up grooves: honest, no fluff productions that are designed for a very specific purpose. Listening to cuts like 'Sweeping Leaps', you can hear echoes of the huge variety of house and techno Steffi has absorbed. The title track wraps you up in its scintillating rhythms and heady strings, while, midway through, 'Acoustics Of Space' fires on all cylinders with its dynamic tempo, relentless drums and euphoric pad work.

The threeway combo you never knew you needed. Sam Binga, Machinedrum and Cesco built the raw bones of these tunes across a single morning in LA, overlooking MacArthur Park, in an intense session that saw them throwing live Bingerian vocals, raw Brazilian shrimp-sellers and tweaked-out Acid lines into the melting pot.

Further sessions between Highland Park and Stokes Croft saw these bare bones jams get fleshed out into the four genre-bending tracks that make up the Niche Flex EP, all of which have been tested out in clubs and festivals across the world, and which land this September via Binga's Pineapple Records imprint, on both vinyl and digital formats.

While obviously handy in the studio, Team MACESGA (as nobody calls them) also can operate a DJ booth to a reasonably high standard, as witnessed at the raucous Pineapple Takeover at the Beatport HQ in LA, and are available to showcase their Transatlantic Threesome at a Quality Music Venue or Devious Fetish Spot near you.

Released in 2000 on Tommy Boy, the album fi nds Capone and Noreaga leaning into their chemistry: Capone's colder, clipped delivery grounding Nore's wild-eyed charisma and off-kilter bounce. The record features heavyweight production and appearances from names like DJ Premier, The Alchemist, Havoc, L.E.S., Nas, Mobb Deep, Foxy Brown, and Carl Thomas, surrounding CNN with some of New York rap's most recognizable voices and architects. Highlights like "Bang Bang," "Invincible," "Queens Finest," and "Phonetime" keep the album rooted in hard drums, prison- call tension, borough pride, and that unmistakable CNN slang. Commercially, it made a solid showing, reaching No. 31 on the Billboard 200 and No. 8 on Top R&B/ Hip- Hop Albums, with "Phonetime" hitting No. 22 on Hot Rap Songs. The Reunion stands as a hard-nosed second chapter for CNN: a tough, guest-heavy, post- millennium Queens record that captures Capone and Noreaga reconnecting without sanding off the grime. This deluxe edition features the remastered original album with 3 bonus tracks.









i B3. Shows! (Interlude) [Feat. Timbo of M.U.]









[i] B3 | Shows! (Interlude) [Feat. Timbo of M.U.]

Feeling both familiar and forward-looking, MBK004 expands its reach with an international lineup of
producers united by a shared appreciation for the New York underground sound.
Crafted by Tunisian producer Gringow, our first two tracks take listeners to the darker side of minimal.
Also owner of the HeardOf label, Gringow lends his talent to Minimal Brooklyn with 15 minutes of
hypnotic rhythms. “Black is the new color” gives chills, while “My K” triggers introspection.
Flipping the record will bring listeners to a brighter space. We begin with Chilean DJ/producer
Francisco Ruíz-Tagle and his original track “Primal Depths”. Francisco introduces textures that have
been cultivated throughout his life. His submission to Minimal Brooklyn holds nothing back, delivering
a multidimensional auditory experience to listeners.

MBK004 ends with “Bean Water”, an original track from Chicago-based producer Double Dipp. This
spell-casting production truly highlights the attraction of minimal. Dynamic instrumentals with clean
resolution. This is Double Dipp’s formula for timelessness.

Golden Seconds has arrived — a brand-new Disco label brought to you by Johannes Albert. In the 1990s, Disco House records became dancefloor anthems, drawing on the nostalgia of disco's golden era while incorporating modern production techniques like sampling. Pioneered by influential producers like JohNick or DJ Sneak, Disco House revitalized the uplifting spirit of Disco while infusing it with the infectious rhythms of House Music. A young Johannes became addicted to this happy music in a heartbeat. Fast forward two decades, and he’s crafted his own updated take on the genre, guided by one simple philosophy:
"Sometimes all it takes to make a room go bang is a beat and a sample."
Golden Seconds Vol. II opens the vaults again and delivers a selection of tracks straight from the stash — timeless grooves, dancefloor heat, and that unmistakable disco glow.
Sexy cover included.

For their next release, Phase Group invites you deep into the mind of a singular artist to offer a glimpse of their prolific body of work, zooming in on music composed specifically between 2018 and 2021.

Across 16 tracks, ‘Summa 2018-2021’ by Serbian producer Andria reveals a highly unique approach to sound design and composition, spanning the realms of futuristic IDM, ritual ambient, fourth-world techno and other elusive electronic genres.

Listening to this album in its entirety feels like entering a self-contained sonic world, where animistic and ancestral traditions are refracted through unfamiliar forms of technology. It’s an album which moves effortlessly from moments of deep and contemplative abstraction, as heard in tracks like ‘Sunlessness’, with it's atmosphere of otherworldly field recordings and ancient rites, to propulsive tracks that will guide clubs through ceremonial trance states such as ‘Floating Island’, where industrial kicks underline expressive poly-rhythms, evocative synths and snarling digital glitches.

The release is a gripping and immersive listening experience filled with spellbinding and expertly conjured sounds alongside highly effective moments of dance music that will surely find their way into the sets of the most expressive and fearless DJs. This is one for fans of Coil, Shackleton, Andy Stott and Demdike Stare.

Behind the work is Andrija Čugurović the Belgrade-based artist. A graphic designer by day (and in-house designer here at Phase Group), he dedicates his nights and time away from work and production to Belgrade’s underground electronic scene, digging deep into the worlds of Bass, Techno, Industrial, Ambient, IDM, Experimental and Computer Music.

A regular attendee at spots like Drugstore and the 20/44 boat since a young age, Andrija has honed a deep connection with the music he creates and DJs and that is evidenced in this highly original collection of music. This is his second release on Phase Group, coming after his debut EP ‘o o o o o’ in 2020, the second release on the label.

'Summa 2018-2021’ is available digitally and on high-fidelity C-90 cassette, dubbed at Tapeline UK and distributed by Rubadub.
All tracks composed and produced by Andrija Čugurović.
Mastered by Giuseppe Ielasi.
Artwork by Andrija Čugurović.

PURE GARAGE RETURNS WITH A CAREFULLY CURATED SELECTION OF COLLECTIBLE CLASSICS.

Pure Garage, the best-selling UKG compilation of all time, returns with a fresh stack of high value collectible classics on DJ friendly vinyl.

With a host of gold & platinum selling compilation albums under it’s belt, plus countless sold out events across the UK, Pure Garage is known and trusted by both hard-nosed purists & the casual listener.

This latest foray coincides with an incredible resurgence in interest for the UK Garage sound, bringing together 8 high collectible infectiously funky cuts, spread across a DJ Friendly 2 slices of vinyl.

Pure Garage Collectible Classics Volume 1 opens with Buggin Me by garage pioneer Zed Bias alongside Al Brown, a groovy bassline, funky beats and a great vocal hook combine perfectly to showcase the mighty Zed Bias at his funky best.

Set It Off, by Chris Mack / Flavour, is a truly collectible record. Originally only available on vinyl as a limited white label press, copies of Set It Off have been trading hands on sites such as Discogs for as much as £130… It’s worth buying this compilation purely to get hold of this track on vinyl!

Another track that is going for big money on reseller sites is Romantic 2001 by DJ Deller. With this minimal 2 step riddim having sold for up to £120. This is definitely one for the collectors.

Funkaholics aka Jeremy Sylvester rounds off the first piece of vinyl on this album with the bass heavy Down 2 Da Ground.

Vinyl 2 kicks off with the sing-a-long classic from 1998, Anthill Mobs’s track Don’t Leave Me, followed hotly by the speed garage sounds of Body Grooving by M.F. Project.

Finally, Deep Impact drops My Fantasy followed up with a regular name of the Pure Garage live event line ups, Scott Garcia drops his soulful club classic Music Takes You, rounding out an impressive batch of tracks representing everything exciting about the UK Garage genre.

PURE GARAGE COLLECTIBLE CLASSICS VOL 1 will be released on double vinyl 16th December 2022!