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Straight from an alternative dancefloor, a recollection of stone cold classics from huge & influential post-punk pioneers. They called it white funk once, but here you can even catch echoes of latin, dub and club influences, a mutant disco manifesto from a series of British champions such as Medium Medium, Jah Wobble, Animal Magic, Blue Rondo' A La Turk, Nightmares In Wax, Tappa Zukie and many more.

Tracklist Side A:
Blue Rondo A La Turk - Sarava
Medium Medium - Serbian Village
Jah Wobble - Invaders Of The Heart (Mix One)
Perfect Zebras - What Dance Is This?
Splat! - Yeah... The Dum Du

Tracklist Side B:
Dancing Did - Ballad Of The Dying Sigh
Animal Magic - Get It Right
Nightmares In Wax - Black Leather
Tappa Zukie – Freak

In Hayk Karoyi’s music, the vibrant palette of the Mediterranean meets the deep layers of Armenian medieval culture. A composer, sound artist, producer, selector, and live performer, as well as a multi-instrumentalist specializing in Armenian woodwinds, Hayk channels his cultural identity intuitively, allowing memory, place, and subconscious expression to shape his sound. Coming from a mixed East Mediterranean and Armenian heritage, he has never aimed to define himself—or his music—within a single tradition.

Instead, his work exists as a continuous fusion: electronic music intertwined with ancient timbres, improvisation, and experimentation. His work has been presented in clubs, concert spaces, and international festivals across Italy, France, Spain, Germany, Armenia, Georgia, Uzbekistan, and Indonesia. He has appeared on festival lineups such as Terraforma Symposia (Italy), Stihia Festival (Uzbekistan), O3 Festival (Armenia), Nopa Sound Festival (Armenia), TKESHI FESTIVAL (GEORGIA) ,Urvakan Festival (Armenia), New East Festival (Barcelona, Spain), Suara Festival (Indonesia), and Un Week-end Festival (France).

“Yotqar” is a love letter to the artists and musicians who have shaped me; those whose music I’ve carried in my heart and those I’ve shared stages and moments with over the years. The album is deeply rooted in Armenian woodwind traditions, echoing voices of the masters I admire. Its soundscape stretches across a wide geography and draws inspiration from the mountains of Syunik to the streets of Anjar, weaving in local sounds, memories and emotions. Endless gratitude to my parents, and especially to my mother for the folklore melodies she sings while cooking, filling the house with warmth and history.” - Hayk Karoyi

Local friends and international visitors take to the mic at your local comedy club, Ba Dum Tish.

First release in the series brings together MaD Signal founders, Mihnea Rog & Dumitrescu with a selection of club forward music, a three tracker blend of their visions regarding the dancefloor.

Reintroducing Soar - the alias of Christian Aebi, serial DIY taper and one-man orchestra from Langenthal, a fog-shrouded town in the Swiss provinces. Krautophobia, ambient lo-fi agriculture, analogue soul balm and slowspeed psych gelati-blitz cardboard pop only gesture towards the sound world he coaxed from his broken Tascam four-track recorder, in attics, churches, junkyards and at the kitchen table.

The spark for Soar was likely time and space, somewhere in the autumn of 1994. Armed with a cable salad of Sixties guitar/bass, fairground drums, mould-speckled organs and toy instruments, Aebi coaxed five albums, an unverified run of 25 cassettes, and a handful of gigs. Mostly issued through Zurich label Corazoo, the records arrived in hand-pasted sleeves, rough-cut reproductions of his teddy bear-fixated artwork that carried the same imperfect immediacy as the music. With Rudi Steiner, performances in galleries, clubs and halls bent into live sound-image happenings - part installation, part film, part flea-market-instrument theatre - invariably leaving the house engineers bewildered.

At the time of his untimely death in 2021, Aebi remained a village secret, his music passed quietly between friends and local ears. Now, Swiss graphic designer and Ghost Riders compiler Ivan Liechti has pieced together a portrait from the afterglow, gathering tangled audio formats, paintings, illustrations, photographs and notebooks with his family, former label and peers. What emerges is a first glimpse of Soar's intimate cosmos - brushing against Füxa, Spectrum, Dump, Stereolab and King Crimson, but orbiting a dimension entirely his own.

Mangabey presents “Hopeful Color”, his debut album, set for release on October 10 on DSP and October 31 on vinyl, via Cracki Records !

Fourteen tracks composed over nearly two years, blending the polished house of his early days (Moula Si) with genres such as Bicep-style electronica (Ampex Both), punchy acid (Attente Instable – Green Sphere), alternative R&B (Dumble Face), hip-hop (Six Figures Check), and neo-soul (Hopeful Color – Deep Breath).

The album reflects Mangabey’s sonic curiosity: between hypnotic grooves, percussive rhythms, and atmospheric flourishes, he creates the perfect bridge between club music and introspection. A generous record in the image of the artist himself, it multiplies collaborations to complete this vividly colorful patchwork of influences, with contributions from Ghanaian collective ALL MY COUSINS, Brazilian-Parisian group PPJ, producer and DJ Goldie B, and Franco-Congolese singer Amaru — each adding to the album’s rich and ever-evolving identity.

At the crossroads of genres and influences, Mangabey’s debut album showcases his multifaceted talent and his ability to turn each track into a distinctive sonic experience.

Montreal duo Flabbergast—aka Guillaume Coutu Dumont and Vincent Lemieux—return to Circus Company, the label where it all began with their debut EP in 2015. Now seasoned veterans of leftfield club experimentation, they deliver Weirdo Active, a two-track vinyl release that distills their signature
blend of groove, absurdity, and refined weirdness.
On the A-side, “Timecrowave” is a swung, syncopated burner built around fragmented drum programming, warbled synth textures, and subtly detuned atmospheres. It's a tool that thrives in the inbetween moments of a set—unpredictable yet fluid.
On the B-side “Serpentoute,” a slinky groove laced with dubwise processing and modular squelch, maintaining tension through micro-edits and playful FX. Perfect for after-hours transitions or more openminded floors.
Following standout releases on Yoyaku, Copier/Coller, and Chapelle XVI, Flabbergast continue to offer up dance music that’s deeply heady, subtly unhinged, and always full of intent. A finely sculpted dose of dancefloor surrealism—just the way Flabbergast likes it.

The year is 1989 and it's the peak of the Belgium New Beat craze. Not limited to records and clubs, the New Beat lifestyle was marketed to death with all sorts of fashion items, a plethora of accessories, and at least one erotic movie.

Fast forward a few decades. In the middle of nowhere, Switzerland, tucked inside a long-forgotten video store that closed its doors in 1999 and sat untouched for 20 years, we stumbled upon a strange treasure amongst tons of VHS hidden in the adult section. A mysterious VHS labeled "Erotiques New Beat."

What we found was pure 1989 Belgian erotica-low budget, fog-drenched, and neon-soaked. Minimalist sets. Girls in PVC. Flashing lights. Mirrors. Fog machines. Loud colors. It was erotic, sure-but also oddly sweet, almost innocent in its surreal, lo-fi dreaminess.

And then came the soundtrack.

That's what really floored us. A collection of New Beat gems, raw, simple, irresistible. Somehow, it captured the full spectrum of the genre: 100-110 bpm grooves with shades of EBM, sleazy coldwave rhythms, sensual synths, proto-Goa pulses, monk choirs, oriental melodies, and a healthy dose of movie samples. It felt alive. Timeless. Utterly perfect.

We had to know more. We dug, tracked down the source, and in 2020, reissued the soundtrack on vinyl. It sold out fast. Now, five years later, we thought about pressing one final batch. A special edition on picture disc, featuring the original smileys from the VHS.

Dumitrescu, co-founder of the label, breaks his own boundaries with a 4-track EP exploring hypnotic structures and stripped-back techno aesthetics.

Kim Rapatti, aka Mono Junk, is a key figure in Finnish techno, known for his deep, hardware-driven sound. A firm believer in analogue synthesis, he has been shaping raw and hypnotic club tracks since the early '90s, drawing inspiration from Detroit pioneers like Derrick May and Juan Atkins. His releases have appeared on his own imprint, DUM Records, as well as Skudge, Forbidden Planet, and most recently, Cold Blow—earning him a dedicated following among DJs and collectors.

Recorded in Turku in 2002 using the Korg Minikorg 700s, Loving Your Mind showcases Mono Junk's signature stripped-down grooves and live hardware improvisation—an essential pick for anyone seeking an authentic slice of early-2000s machine funk. Alongside the title track is Gamma, a previously unheard production that was commissioned as an exclusive for a highly regarded mix series, further cementing Mono Junk's status as a trusted name in underground techno. Built around a percussive groove, a deep electro-funk bassline, and a four-to-the-floor pulse, the track unfolds in an atmospheric haze, balancing dancefloor functionality with hypnotic depth.

The B-side features remixes from Katerina and Sansibar, two of Finland's most notable international breakthroughs in recent years, known for their modern yet timeless club productions that nod to classic techno and house.

Katerina, a versatile DJ and producer with releases on Rekids, Running Back, and Cómeme, transforms Loving Your Mind into a high-energy techno duet, layering her own vocals over the original vocal track, with her infectious synth lead as the icing on the cake.

Sansibar, one of the fastest-rising names in the underground with releases on Kalahari Oyster Cult, WARNING, and Émotsiya, delivers a darker, four-to-the-floor rework—bringing a sinister edge while maintaining the raw energy of classic machine funk.

2025 Repress

Running Back’s Double Copy subsidiary for house music history returns with four musical masterpieces from Chicago, London and an international cast from Italy on its first various artist sampler.
Originally released on Roy Davis Jr.’s Undaground Therapy outlet, Destination Heaven by the enigmatic Earth Boys project delivers a piece of cloud-nine-deep-house that was a staple at Frankfurt’s Wild Pitch Club and during the early days of its successor Robert Johnson. Produced by Cloudy Eyes and Cole Brooks, we unfortunately have never heard from the duo again. Luckily, Family of Few have been a little bit more productive. Also known as Mind Readers, Kevin Elliot and Billy ‚Jack“ Williams produced some of the more tender moments on Detroits 430 West label. Intervoles is amongst the most peculiar and catchy tracks that slow-burning dance floors can hope for.
The flip side turns the attention to the conclusions that Europe drew from its US-role-models. Released in 1992 on Rena Records with the involvement of New York’s JoVonn (a distinct genius of deep grooves himself), the keyboard skills of Pierre Audetat and the production work of I. Betti, M. Clemente and W. Brown, Dummy Head is one of a kind. Swirly echoes, dubby textures and a heavy bass line mate on the Edit Mix of I Have Been Wanting You to create one of the very first examples of fully formed dub-house.
Similar pioneering properties can be ascribed to the work of Rob Mello. We don’t have enough room here to list all his merits, but rest assured that the UK’s house scene wouldn’t be the same without him (Luxury Service Records, Classic et al). Under the Karim guise, Mello delivered a unique stroke of genius. Distilling the essence of deep house, while looking far into the future, In My Mind is many things at once: broken beat, electro, house with embracing chords, and – if you will – a warm-up banger. and does, what all the tracks in here do: turning heads then, turning heads now. Hardcore Deep House!

The Clamps Unveils From Dust to Dawn - A Cosmic Journey into Drum & Bass

French Drum & Bass producer The Clamps is set to release his highly anticipated second album, From Dust To Dawn, through the label Kosenprod.

Known for pushing the boundaries of Drum & Bass, he delivers a highly personal and finely crafted album that merges intricate sound design with an intense dancefloor-oriented energy.

From Dust To Dawn showcases The Clamps' signature Neurofunk style, characterized by deep, dark basslines, meticulously engineered beats, and emotional soundscapes, while also incorporating elements of Jungle, Hardcore, and Techno. This 16 track journey blends introspective themes with hard-hitting club anthems, creating a diverse experience that is both thoughtful and electrifying.

The album will be released as a special double vinyl edition, cementing its place as a must-have for Drum & Bass enthusiasts.

In Mr Bongo’s opinion, 'Imprevisto' is one of the most unmistakable Brazilian jazz records ever made. Dramatic intro and hypnotic piano line, decorated with panned percussion before the hats come in. Then the upright bass. A true classic.

Bossa Três formed in 1961 in Rio. They spent most of their early years touring jazz clubs in the USA, before the original line up and their pianist (and perhaps most well-known band member) Luis Carlos Vinhas, returned to Brazil. This is the final track on their Em Forma! LP from 1965, released on Forma. The original pressing of this Brazil 45 was the first time ‘Imprevisto’ had been released on a 7”.

We know very little about Ana Rosely. She released four 7” 2-track records between 1975 and 1984, the latter featuring the brilliant ‘Skim Dum Dum Dum’. The original version was released by RGE Discos in 1984, which came as a surprise to us given the sound. It is very difficult to find an original copy in good condition and they are, as ever, increasing in price.

After the success of the 1st vinyl edition of Techno Club 25 years anniversary, Talla 2XLC and his ZYX team proudly present the 2nd vinyl edition including 12 trance classics in their full extended DJ friendly glory. Imagine on the same colored vinyl (gold and black) outstanding productions and remixes by Talla 2XLC, Terry Bones, DJ Kalpa, Paul van Dyk feat Plumb, John O’Callaghan, Chakra, Alex M.O.R.P.H., Lange & Sarah Howells, Aly & Fila, CRW, DJ Jamx & De Leon aka Dumonde, Markus Schulz and Tony-H. Finally has arrived the ultimate vinyl set of 12 eternal trance classics selected with love by Talla 2XLC and his Techno Club team. Add in your basket and purchase now this very limited edition colored vinyl set!

This album starts the journey of Unruly Records by featuring some of the early tracks and artists who helped shape the sound of "Club Music".

These songs were originally released between 1991 & 1995 and took dance-floors in Baltimore by storm. There is also a full color insert which paints a picture of that moment in time. In support of Baltimore City's Inaugural "Baltimore Club Music Day" on June 17th, we put together this anthology to kick off our "Anthology" collection/series which will initially start with 3 installments.

Be on the lookout for "Anthology 1996 double album next year!

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the
time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music,
jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove
movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna
based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for
many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa
Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special guest and today is still considered
one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector
and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten
gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:
Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and
Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo
album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru
and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre
Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.
After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation
of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry
Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with
the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with
international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam
Recordings, !K7.

The latest three CDs on the Irma label “I Don’t Want This Groove To Ever End” (2012), “Ain’t Nothing But A Groove” (2013), “Don’t Let
The System Get You Down” (2015) and “Beggar Groove” (2017) show the funkiest and grooviest side of LTJ !
In the last years LTJ has literally toured the world, some really important and popular Festivals have booked him for his reknown DJ
Set performances, Scottish Soul Weekender (Dumfries, Scotland), Mareh Festival (Boipeba Island, Brazil), Garden Festival (Tisno,
Croatia), Jazz Refound Festival (Vercelli, Italy)
And visiting Cities like: Tel Aviv, Skopje(Macedonia), Belfast e Derry (Ireland), London, New York, Berlin, Bucarest, Amsterdam, Paris,
Marsille, Barcelona, and Vilnius (Lithuania). just to name a few.
Deepening of a Groove is the new album, the fifth dedicated to the research of sounds Disco Funk from its origins revisited by today's
rhythms and the dancefloor feeling of 2000. For the first time on this album 4 sung songs appear. Bad Side (already released in single
version) and Infiltrator are sung by Anduze, soul singer from Los Angeles also known for his collaboration with Parov Stelar. I'm Gonna
Funk U and Stranger are sung by the Marche singer AdniL for the first time in collaboration with LTJ.

Their debut album, Why Trains Crash was released in June of that year to rave reviews. In 2023 they released their follow-up LP, A Company Sleeve, solidifying their reputation with critics and fans alike for all- killer/ no- filler indie rock. Their third LP, Never Felt Bitter, will be released on March 27, 2026. The music on Never Felt Bitter -- the quartet's first release for Chicago- based Forge Again Records--is the result of playing together on hundreds of nights in innumerable bars and clubs across Southern California and beyond. Over the years the band has honed a fearsome melding of pop melodicism and raw physicality. Their knack for crafting catchy anthems for outsiders and underdogs has made them one of the most respected underground bands in L.A.

Impérieux (aka Alper Durmush) is a beatmaker extraordinaire hailing from Kircaali / Kardjali: since antiquity a hub of mythical music, located at the crossroads of Bulgaria, Turkey and Greece.
After conquering the hearts and feet of the scene with his stunning debut album Rezil and the follow-up Fena EP, Impérieux caps off his stellar year with a seven track mini album on Macro. Its effortlessly mesmerizing tracks consolidate the outlines of
forward-leaning club music.
Experimentation is a well-established facet of Impérieux’ approach to the adventurous techno (left)field, but the In and Out EP brings to the table his most condensed dance floor material so far. Holistically captivating hooks, bass lines and rolling rhythms: The next step after several years of exploration and refinement.
Unpredictability, bound together by a consistent, modernist glint. From the raw jacking of Gips to the warm euphoria of Baka, from the darbuka frenzy of Duman to the cutting friction of Trese – a triumph.

"Prudência / Praga", or "Prudence / Plague", is a double single with these two songs that I composed and which were originally recorded by two of my heroes: Maria Bethânia and Alaíde Costa. Curiously, they are two sambas: although I come from the rock and roll scene in Sao Paulo, I wound up writing a samba as if it were the 50s. At the time of my first heartbreak, at the age of 17, I had the record Jamelao canta Lupicínio with the Orquestra Tabajara on my iPod, and I identified with those dramatic sorrows, almost a hundred years old. In a way, I felt that Lupicínio Rodrigues was bloody and direct, like Tarantino, and Nelson Cavaquinho, heavy metal like Black Sabbath. So, I feel it's a compact 45 of sambas but it's also very Rock n Roll to me. Raw and coming from hell. "Prudência" is that internal battle between the passionate side and the controlling side in the head of the former romantic bohemian. I wrote it for Bethânia to record on her album Noturno. Her version turned into a moving bolero. When I saw her singing it live and the audience singing along with her, I couldn't believe it. I cried, hidden in the audience. She said that when she showed the record to her brother, Caetano Veloso, he thought that "Prudência" was some old classic that she had dug up to bring back to light. Nothing could be a greater compliment than this mistake on Caetano's part. "Praga" also has to do with MPB heroes of mine that I never imagined I'd see up close or have any relationship with or any connection with. I was asked to write these lyrics in partnership with the main man Erasmo Carlos for Alaíde Costa's album! Surreal. Like many people, I got acquainted with Alaíde listening to "Clube da Esquina," her singing with Milton Nascimento. And the idea was to do a poisonous cabaret song samba. The curse of a woman who has dumped a drunk. I love it when Alaíde sings "BIBIDA" in her recording of the song_a total legend. I wanted to produce a kind of horror samba recording, because if it wasn't rock and roll, it wouldn't be much fun for me. I went over to Bielzinho's, and we recorded this chorus that explodes with the percussion and the choir of my friends Tulipa, Maria Beraldo, and Luiza Lian. This take of "Prudência" came from the unpretentiousness of recording two live sessions of the song with Fred Joseph with the cameras of the 70s' program "Ensaio" (MPB Especial) by the great Fernando Faro. The video take ended up being so unexpected and raw that it unseated the studio version, and that's what you hear on the single. The idea behind the video is a sort of this temporal mindfuck; like found lost tapes of the MPB Especial from the early the 70s. Same microphones, same cameras, that zoom_time travel. Between Mil Coisas Invisíveis, the end of the cycle with O Terno, and starting the new album process, I decided to take advantage of the respite to release this rock and roll 45 of sambas, without thinking too much or over-producing the thing. "Prudence? Don't talk to me about prudence!" ;) Tim Bernardes, 2025

Deaf Club continues their scathing indictment of society with their second full-length album, being released on Southern Lord and Three One G: We Demand a Permanent State of Happiness. Fast wit and faster blast beats are mainstays of the band, but there is also a sense of growth. This is their strongest songwriting yet, incorporating more hooks and good old-fashioned moments to mosh while staying as weird as ever. Raygun guitar riffs and unexplainable sounds abound. Justin Pearson, Brian Amalfitano, Scott Osment, and Jason Klein excel at inciting emotion in the face of apathy and voicing disgust amid a world rapidly burning.

Dies ist deine Einladung zur besten Party überhaupt! Mit A Piece Of The Action erscheint eine längst überfällige Retrospektive des Hamburger Duos Egoexpress - ein wilder, tanzbarer Ritt durch ein Jahrzehnt elektronischer Subkultur. Zwischen 1995 und 2005 erschufen Mense Reents und Berndt "Jimi" Siebels einen Sound, der sich jeder Schublade entzog: roh, verspielt, hypnotisch. Aus dem Punk- und Rock-Umfeld kommend, schmuggelten sie ein störrisches Selbstverständnis und ansteckenden Humor in den Club. Statt verkopfter Coolness setzten sie auf Körperlichkeit und Bauchgefühl - und landeten damit direkte, tanzbare House-Hits mit Eigensinn. Ihre Musik war nie glatt, nie angepasst - sondern ein lebendiger Gegenpol zur Ästhetik ihrer Zeitgenossen. Die 2LP-Compilation versammelt 16 remasterte Tracks - darunter Klassiker wie We Are Here, Knartz IV oder Telefunken - und dokumentiert eindrucksvoll die Entwicklung von minimalistischen Loops hin zu psychedelischen Clubtracks. Egoexpress waren nie Teil eines Trends - sie waren ihr eigener.

Huxley debuts on Rekids with the ‘MIND G%MES’ EP.

UK DJ, producer, and Dumb Safari label head Huxley joins Radio Slave’s Rekids for the first time with the ‘MIND G%MES’ EP, dropping 25th July 2025. The first track, ‘M%ND’, kicks off with woozy and alluring pads swirling round a cuddly but kicking Deep House groove. Soulful vocals and delicate, cosmic melodies rise out of the mix to bring it to a close in style. 'CLUB SH%T' ups the ante with zippy synths injecting some texture to slamming drums that straddle the House and Techno divide, while wispy stabs and warm daubs of sound dance around the cowbells to make this an evaluated late-night tool.

'FEAR N%THING' is a new school cut, with fi ltered loops, sugary chords, and pent-up energy all surging through the dance fl oor. Last but not least is 'ANY1', a sleazy House pumper featuring moody spoken word, a big, rubbery bassline, and slinky, Garage-infl uenced percussion.

Active in the underground music scene for two decades, former Rinse resident and sometime Aus, Shall Not Fade and Unknown To The Unknown artist has had one hell of a career. From huge breakthrough tracks like ‘Let it Go’ on Hypercolour and ‘Box Clever’ on 20:20 Vision to his 2014 ‘Blurred’ LP on Aus, he’s seen universal critical acclaim as well as massive support from DJs and dancefloors globally. In recent years, his Dumb Safari label, the online community R Trybe (co-founded by Ramin Rezaie/BAKKIS) and collaborations with Steve Bug are just a handful of his projects, while his ‘MIND G%MES’ EP for Rekids is already feeding the fi re with support from Jen Cardini, Cromby, I.Jordan, Jennifer Loveless and big room dons, Michael Bibi and Solomun.

Limitiertes weißes Vinyl Eine exklusive Compilation des legendären britischen Indie-Labels él, das in den 1980er Jahren mit stilvollem Pop, kunstvollem Design und internationalem Einfluss begeisterte. Mit Künstlern wie Momus, Louis Philippe und The King of Luxembourg bietet The Rubens Room eine elegante Reise durch Kammerpop, Chanson und Filmscores - fernab vom Mainstream. Begleitend zum Buch Bright Young Things erscheint dieses Sammlerstück auf weißem Vinyl - ein Muss für Liebhaber anspruchsvoller Popkultur.

Ist das noch Familie oder ist das schon ein Kult?

Mit ihrem dritten Studioalbum "FREAKS" erreicht die Karriere von DEINE COUSINE einen neuen Höhepunkt und zelebriert die Kraft der Gemeinschaft in einer Zeit, die uns immer wieder versucht auseinanderzureißen.

DEINE COUSINE alias Ina Bredehorn muss magnetisch sein, anders kann man es nicht erklären. Was vor einigen Jahren noch in schimmligen Clubs in den schlechten Ecken der Stadt stattfand, passiert heute in ein paar der größten Spielstätten des Landes. Und das alles aus eigener Kraft, ohne Majorlabel, Riesen Budgets oder mediale Überpräsenz. Mit unendlicher Power auf und abseits der Bühne zieht DEINE COUSINE immer mehr Familienmitglieder in ihren Bann, die mit "Freaks" ein Album randvoll mit neuen Hymnen geliefert bekommen.

Die neuen Songs behandeln kollektive Emotionen - mal im big picture, mal anhand von persönlichen Episoden erzählt - und vermitteln ohne Plattitüden ein Gefühl von Zusammengehörigkeit, das auf Geschlecht, Sexualität, Religion oder sonstige, verstaubte Rahmen scheisst. Laut Ina versammelt "Freaks" Songs über "mich, meine Leute und meine zehn Persönlichkeiten", und damit sind alle gemeint, die mit offenem Herzen und Toleranz durch die Welt gehen.

Das Album erscheint als farbige Vinyl (Re-Vinyl) im Gatefold

FABRICLIVE’s new incarnation as an artist-focussed label continues, with a stunning two-track 12” by the Hong Kong-born, Netherlands-based rising star Kiana Li, aka gyrofield.

Rooted in drum & bass but distinctly the sound of now, this single sparkles with freshness, and stands-out with an exquisite verve for detail and craft. Balmy and comforting, atmospheric and melodic, the cloudsurfing breakbeats and celestial propulsion of ‘Akin’ is pure friendly pressure, whilst on ‘Mother’ big vocals, low-end precision and techno swathes soar even higher.

“'Akin' and 'Mother' remind me of my earliest days writing dance music. These are two free-spirited, transportive pieces that feel like spreading my wings and letting the air take me. Brought skyward in the hand of fate, nurturing yet weathered by my very own ideals. We all wish for better days. And toil to heal.” gyrofield

gyrofield has released music on prominent labels including Critical, Overview and Noisia's Vision. Last year she released the album A Faint Glow of Bravery on Metalheadz, and the EP These Heavens for XL’s prestigious house bag series, which has previously showcased music by Blawan, Joy Orbison and Overmono.

gyrofield is a regular on NTS and an in-demand DJ, whilst radio/club support has come from Mary Anne Hobbs, Objekt, Special Request and DJ Flight. Press fans include Rolling Stone, Crack, The Quietus, The Fader, DJ Mag and Resident Advisor.

“Scintillating - a sonic portrait of heaven that takes drum & bass and imbues it with the divine” Resident Advisor

“An artist whose journey and sound are quite unlike those of anyone else” The FADER

“Her vivid productions are a breath of fresh air in the scene” DJ Mag

“Merging the atmospheric and experimental with the melodic and emotional” Crack

“Packed with shapeshifting sounds that examine the universe and beauty of nature. Fusing atmospheric and spaced-out sounds with danceable sonics” Dummy

"She will never sit comfortably in any one genre or play to expectations or rely on any standard production formulae” UKF

Back with a bang for 2025, FABRICLIVE re-enters the fabric Records fold, which also incorporates Houndstooth and fabric Originals.

Von allen unabhängigen Plattenlabels der 1980er Jahre war él das einzigartigste und aufregendste. él existierte nur wenige Jahre und war doch paradoxerweise - angesichts seines bescheidenen kommerziellen Erfolgs - äußerst einflussreich. Für den Schriftsteller Jonathan Coe, einen der vielen Anhänger des Labels, war él "das große musikalische Geheimnis Großbritanniens". Diese "Best of"-Compilation, kuratiert von Label-Chef Mike Alway selbst, wird die Welt an die Größe von él erinnern.

Kicking 2025 off with a NEW LIFE, Kito Jempere resumes operations retro-outfit shining, all machines blazing, pulling up with a boiling four-trackpackage bound to get dance floors quivering in excitement. A stick ofdynamite flung into the mouth of today's corporate dance music blandness, 'New Life' finds the Saint Petersburg producer spitting multi-strain madnesswith reckless fun and adventurous panache. Take New Order in theirTechnique days, sprinkle with early hip-hop breaks and finish it with a funk-savvy mix of acid, happy hardcore and ghetto tech jack, and you prettymuch have the opening track and lead-single 'New Life' capsulized to a tee.
A blissed-out, choppy ride spinning recklessly into dance-y abandon, 'LoveFilter' takes us on a heavy-lidded trip across dreamy electronic folds andonto vaporous apexes, where drum-heavy jolts and sliced vocals collidewith spacious pads from outer space. As hypnotic as it reveals hard-hitting, 'Killer Line De-Part' deploys a warped kaleidoscope of trancey shades,grunge-y grit and largely '80s informed analogue wizardry, convergingtowards the most hair-raising finale with your feet in the air and a dumbsmile across the face. Rounding off the record, 'Put Love Into Your Heart(Club Mix)' is a luminous slice of trippy, feelgood electronics engineered fordance floor communion and uplifting let-go. Fill your heart with love.

Besançon, sometime before lockdown… Still in high school, Laszlo, Baptiste, Matthieu, Maël and Marius, driven by a common desire to make people dance till they sweat, formed Wet Enough!?, and began to make music together, driven by a burning passion for funk, electro, rap and disco.

Early 2023, they were contacted by Antoine Rajon from label KOMOS who was to go on to produce their debut EP “DASH”, released in January 2024. A series of gigs followed in Paris, London, Brussels and the Jazz à Vienne festival under the aegis of Astérios Spectacles. That same year, they were also selected to take part in the Inouïs talent showcase at the Printemps de Bourges, as representatives of the Bourgogne Franche-Comté region.

The “Burgundy Five” then studied at music schools in Brussels, Amsterdam and Lausanne, in institutions more open than their French counterparts when it comes to exploring the full gamut of musical styles; they also frequently met up for composition sessions and concerts.

In September 2024, they left for London to record their debut album, in the studio of producer and musician Malcolm Catto, as he was charmed by a live at ‘91 Living Room’ in Brick Lane. The Heliocentrics drummer and sonic wizard behind Yussef Kamal’s famous ‘Black Focus’, used his trademark analogue approach to help craft 10 powerful tracks, collectively composed and arranged by the group.

On this release, we detect the influence of American groups like Ghost-Note and Butcher Brown, but also an energy almost akin to punk rock. And especially, we can sense an enthusiastic appetite for defying genres, without a care for codes or the constraints of aesthetic purism.

Their starting point is new jazz, conjuring up current scenes in the UK and America (‘Green Tangerine’, ‘Emile Lédonien’, ‘Lullaby for a riot’), but they soon wander into the club with the unashamed housey inflections of ‘Dump’ (carried aloft by Galawesh Heril on vocals). When Marius, the trombonist grabs the mic, he displays mastery of chiselled flow and old school French hip-hop vibes (‘Lascars, San Pé’) as well as ultra-modern, alternative aesthetics (Les 2).

During the studio sessions in London, the band invited two British musicians to guest on the record - a junglist rapper from Manchester, OneDa, who illuinates up single ‘One Leg’ with the brightness of her rhymes; and a Londoner, saxophonist Camilla George who offers a vibrant solo, riding high over the amped-up groove of Funk4.

There’s no doubt they shall join the group for upcoming shows whose philosophy is also expressed in the album’s title :

DANCING PEOPLE DON’T DRY.

The complete LP + 4 bonus tracks - limited edition pressing on 180g vinyl

As one of the most sensual singers in the history of jazz, Julie London's risque album covers were as much a part of her legend as her sultry and husky vocals.

Like many of her albums, London by Night brings together songs that form a narrative of a lovelorn woman finding true love, getting dumped, and wandering around sadly until finding romantic redemption in the final song.

As highlighted in the AllMusic review by Nick Dedina -"It also shows how 1950s audiences were dealing with the same issues of self-worth and esteem that modern ones are grappling with, and why classic albums such as 'London By Night' still have a place in music collections".

COLLECTING ORDERS FOR RESTOCK.

Desert Sound Colony debuts on UTTU with 4 tracks of high-octane, data dump fuelled club trax!

Another 4 tried and tested club weapons straight from the Toolroom with huge support across clubland from LF System, Bob Sinclar, Claptone, David Penn, Ferreck Dawn, Danny Howard, Low Steppa, Roger Sanchez, Jodie Harsh, MK, James Hype, ACRAZE, Tiesto, Adam Beyer, Duke Dumont, Dombresky & the Solardo boys!

12” paddling pool blue vinyl, is an edition of 500. CD Digifile. Following the runaway success of their critically acclaimed 2021 second album Contender, the question for fast-rising London four-piece Fightmilk was always going to be “what next?” With a tight indie-pop sound that defined their early recordings, the answer was obvious to a band who seem hellbent on the notion of evolve or die… The band originally formed in 2015 in a Brixton pub garden by Lily and Alex, who had both, separately, just been dumped and thought being in an angry punk band would cheer them up. Then they found Nick and Healey to hold the rhythm down and make them sound good. With three albums under their belt, they’ve perfected their chaotic, melodic brand of joy and rage-filled pop with full-throated yelling and sparkling guitar riffs as their trademark. They’ve graduated from angsty whippersnappers in their mid-twenties to overgrown teenage 30-somethings with mild ongoing back and shoulder pain. Their previous 2 albums Not With That Attitude (2018) & Contender (2021) marked them out as an ambitious and rising prospect, and now on their forthcoming new album No Souvenirs the band eschew their former Britpop ties and edge further into DIY punk and heavier rock influences to reveal a leaner, meaner, more abrasive side to their cathartic lo-fi anthems. Whilst collectively diving into their passion for Jimmy Eat World, frontwoman Lily Rae made a conscious decision to strengthen her “big loud yell” with influence from Alicia Bognanno (Bully), Nat Foster (Press Club), and Missy Dabice (Mannequin Pussy). “My voice is the biggest it’s ever been and I’m constantly thrilled when people are surprised at how loud I am, considering I’m so small in stature,” she grins. “Lyrically I always look to Bruce Springsteen for inspiration but I also really enjoyed the angsty candour of Sour by Olivia Rodrigo, and Kacey Musgraves’ impeccable one-liners.” There are a few genre experiments on the record—Yo La Tengo in ‘Paddling Pool’, ‘Canines’ is part The Strokes and part Neu!, and ‘Back From Tour’ was heavily influenced by long term friends Johnny Foreigner. “You could probably make a case for ‘Inferno’ having a bit of Counting Crows to it, but we were never writing to emulate,” explains guitarist Alex. “The references and touchstones just happened along the way. As far as we’re concerned, they just sound like Fightmilk - and that’s a really nice place to be nearly a decade in.” “That said, we’ve also been REALLY picky with the songs that made it onto the album - there’s probably an-other album’s worth of songs that didn’t feel right, even if we loved them. We got really good at finding the “magic thing” in each song that made it work.” Spilling over with candid lyrics about death, doomed love, and dog bites, framed by endless punk energy and the kind of full-throated riff-rock that sounds just at home in a giant stadium as it does in a sticky-floored toilet bar, No Souvenirs is a triumphant return from the band, who are equally enthused by the album. “I only realised after we put the songs together how personal to me this album was,” explains Lily. “Not just because I’m writing about extremely specific sitcom episodes in my life (getting fired from bridesmaid duty, being bitten on the arse by a dog, being relentlessly asked when I’m going to have kids), but because whilst we were making it, I turned 30. It’s a significant age for women, especially in music, because aside from being something called a ‘geriatric millennial’, there’s an unspoken rule that there’s a cut-off point for you to have ‘made it’ and after that you have to settle down and be normal.” For Lily, writing for the album also aligned with the 10th anniversary of the death of a close friend, with the resulting track ‘No Souvenirs’ lending its title to the album as a whole. “It had taken me that long to write about it in a way I felt ok with. But I realised that I couldn’t have written it before,” she explains. “I needed that distance, and that maturity, to be able to articulate those feelings. It feels to me now like the album is about scorched earth, moving on, taking nothing with you for the next ‘thing’ - and realising that getting older is a privilege.” Bringing a huge amount of energy and joy with them whenever and wherever they hit a stage, interacting with the audience is a vital part of the Fightmilk live experience. “Without people singing and dancing at us we wouldn’t have gigs at all, so we want everyone to get involved!” says Lily of the band’s future tour plans

Miquel Brown released "So Many Men – So Little Time" in the summer of 1983 and remains a club staple. Welcome to the Oculus Disco …



On the A Side “SO MANY MEN” is a twisted version of the original. Featuring sets of stabs and a reimagined melody, an extended breakdown with shortened count-down, this edit opens 4 perfect mix points to the original!



On the B Side “SO LITTLE TIME” is stripped of its former glam to reveal a tougher tone. Claps emphasis a darker vibe that dumps directly into an acidic rhythm. No vocals, chants, or breakdowns - this DJ friendly cut is suitable for Disco, House, and Rave settings.

Danny Lee Blackwell"s Night Beats released their self-titled debut album back in 2011 and 2024 sees a long-overdue vinyl reissue hit the racks courtesy of UK label Fuzz Club. An acid-drenched modern garage-rock classic in the Texan thirteenth-floor tradition, the band"s R&B-inspired Western Psychedelic sound on this 12-track set is a reckoning, a shoot-out at dawn, the ear-splitting peel-out that leaves nothing but a cloud of red dust in its wake. Following early releases in the shape of the "H-Bomb" 45 and a split 10" with UFO Club (a collaborative project between Blackwell and The Black Angels" Christian Bland), the "Night Beats" LP was the first full-length introduction to the band and propelled them to the forefront of burgeoning contemporary psych scene in a blaze of scuzzy rock"n"roll release. Heavy touring immediately ensued and hasn"t let up in the years that followed, and the definitive Night Beats hit "Puppet On A String" has since clocked up millions of streams and become the soundtrack to an underground, fuzz-worshipping generation.

Are you ready to hear the best live band of the early ‘70s? We at Real Gone Music have been privileged and proud to release Fanny’s four classic Reprise albums, each a tuneful testament as to why they were the first all- female band signed to a major label. But there has always been a piece missing from the Fanny fable; for while the band hooked up with big-time producers and engineers like Richard Perry, Todd Rundgren, and Geoff Emerick, their studio albums never really were able to capture the sheer excitement they could generate in concert. However, buried away in a vault thousands of miles away from their Los Angeles base there long lay a recording that could make the Fanny myth a reality, one that could provide the emphatic answer as to why these four ladies were the hottest ticket on the Sunset Strip during the early ‘70s. Now, over 50 years later, its time—and their time—has come. Live on Beat-Club ’71-’72 presents the two sets Fanny recorded for the German TV show, mastered by Mike Milchner of Sonic Vision from hi-res mono files taken from the original videotape. Aside from the incendiary and incredibly tight performances, what immediately becomes apparent is that all four of these women were powerhouses in her own right. June Millington’s stringbending Les Paul wizardry, her sister Jean’s driving, melodic bass lines and Janis Joplin-esque vocals, Nickey Barclay’s intricate yet somehow rocking keyboard work, and Alice de Buhr’s precise, piston-like drumming punctuated by ferocious fills—put together Fanny was an overwhelming display of talent, Yet somehow, as these shows reveal, live they were greater than the sum of their parts. That’s why getting these recordings released has long been a crusade for Alice, and why June tells the story in the accompanying liner notes (which feature contributions from June, Jean, and Alice) that the engineer who was assigned to do the transfers of all the Beat-Club material told her that their material was the best in the vault, better even than Hendrix. We are releasing this invaluable archival recording on juicy peach vinyl and on CD with a bonus track of the soundcheck to boot. Essential for a full understanding of ‘70s rock!

"Black Sheep" ist ein spannendes Hörerlebnis mit einigen der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa. Er bringt die Stimmen von außen zum Schweigen und nutzt voll und ganz seine Vielseitigkeit: melodischere Hooklines, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und von Honey Dijon über Injury Reserve bis zu Rye Rye mit allen zusammengearbeitet.

"Black Sheep" ist ein spannendes Hörerlebnis mit einigen der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa. Er bringt die Stimmen von außen zum Schweigen und nutzt voll und ganz seine Vielseitigkeit: melodischere Hooklines, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und von Honey Dijon über Injury Reserve bis zu Rye Rye mit allen zusammengearbeitet.

"Black Sheep" ist ein spannendes Hörerlebnis mit einigen der bisher schärfsten Texte und elektrisierendsten Darbietungen von Cakes Da Killa. Er bringt die Stimmen von außen zum Schweigen und nutzt voll und ganz seine Vielseitigkeit: melodischere Hooklines, noch raffiniertere Pointen und die charakteristische Stimme, die mit durchsetzungsfähiger, roher Kraft alles durchdringt. Während sich in den globalen Verhältnissen Dunkelheit abzeichnet, bietet Cakes neue Fluchtwege - nicht aus Fahrlässigkeit, sondern aus Erholung, um weiter zu kämpfen. Ihm eilt sein kritischer und gesellschaftlicher Beifall voraus: Er hat bei Glastonbury, Governors Ball, Sonar und Whole Festival gespielt und von Honey Dijon über Injury Reserve bis zu Rye Rye mit allen zusammengearbeitet.