After what seems like an aeon of anticipation, Yugen Blakrok returns bolder than ever with The Illusion of Being, a raw, fearless exploration of emotion and resilience. This album is a call to triumph. Through poetic lyricism and experimental soundscapes, this project offers the listener a journey into the heart of uncertainty and the power of perseverance. Created and recorded in a world in flux, The Illusion of Being reflects the artist's evolution as a storyteller and resonates directly with the era that shaped her. Driven by incisive lyrics andsoundscapes blending grunge, trip-hop, and 90s spirit, this project tests the boundaries of alternative hip-hop. Here, rhythm speaks louder than reason, and the acceptance of "Being" becomes the thread that ties each track together. This album captures a bold new chapter in Yugen Blakrok's discography. While rooted in the lyrical mastery and poetic precision that fans cherish, it marks a departure from the familiar, embracing a more unfiltered and experimental approach. The collaborations seem purposeful, and match this intensity: Sa-Roc delivers combative and sisterly energy,Cambatta brings his visceral urgency, while Hannah Allen offers a touch both delicate and impactful. Instrumentally, the arrangements dare to break new ground: wailing electric guitars,enchanting flutes, and hypnotic beats create a striking sonic alchemy. As described by Yugen in three words: Free. Involved. Anti.Free from convention. Involved in the fight. Anti-establishment. In many ways this album is a sonic manifesto. Each track resonates as a call to rebellion, an anthem for those who refuse to bow down. The Illusion of Being is not just a work of art; it’s a statement: for freedom, for community, against oppression. A mirror of our collectivestruggles and a light for those who keep moving forward. It promises its listeners a deeply personal connection, offering a glimmer of hope amidst despair and a soundtrack for their fight.
Suche:a drive
"We loved this piece of ramshackle punk funk when we first heard it on 7" in 1994 and we still love it now!" - The Chemical Brothers, 2025 A timeless slice of garage soul punk, the "Fuck Shit Up" DBN102 7" 45rpm was released in 1994, the second volume in Dub Narcotic Sound System's Dub Narcotic Disco Plate series. Immediately recognized as a unique bending of disco bleed towards the teeming masses, "Fuck Shit Up" was championed by the likes of Chemical Brothers, Beck, The Jon Spencer's Blues Explosion (who covered the song on their 1996 Now I got Worry LP) and Make-Up. "Fuck Shit Up" is still a must-play at every down-in-the-basement dance stomp the world over. Assorted unauthorized postings on youtube have accumulated over 100,000 views. Now available for the first time in the digital realm, the original "Fuck Shit Up" is reimagined as a 7" 45rpm phonograph record with new remix version on the flip by Hifi Sean (aka Sean Dickson of Soup Dragons). Hifi Sean's most recent album, in collaboration with David McAlmont, is Twilight (Plastique Recordings), a twelve-song night drive, dancing from dusk `til dawn, with all the moments in-between (out February 14). Hifi Sean has also directed a video for the "Fuck Shit Up Hifi Sean Mix."
On his first release for another label in seven years, Batu presents *Question Mark*, a bold statement on his hypermodern approach to UK-influenced club music. Marking the debut of Lethal Press, Oath's boutique sister-label, this EP showcases Batu's signature fusion of sound design and club energy.
Known for pushing bass-driven dance music forward through his Timedance and A Long Strange Dream labels, Batu has crafted four striking tracks that embody his evolving sound. From the warped arpeggios of *Question Mark* to the heavy-hitting swagger of *Seize*, the dembow-infused groove of *Clump*, and the meditative depth of *Meridian*, the EP navigates futuristic rhythms with precision and intensity.
This release sees Batu channel his experimental instincts into fresh, club-ready forms-staying true to his roots while embracing new sonic possibilities.
This record feels like it was inevitable with previous releases from The Spy on the labels compilations dating back to 2021. Wessel is an artist Hilltown Disco has spent a long time admiring who fits the ethos perfectly.
5 synth-driven, emotive electro tracks (plus 2 digital bonuses), written and produced in the Netherlands with a new take on ‘Evil Wins’ by Berlin based electro don, Privacy.
A nocturnal ride through the magnetic waves of an imaginary club that never sleeps, where groove becomes ritual and the dancefloor an extension of the body. Francisco & Cosmo Dance – aka Francesco De Bellis and Cosimo Mandorino – orchestrate a mechanical and naif dance between man and machine, where synths chase each other and drum machines dictate tight, unrelenting beats. “Go Go Dance” is a concentrated dose of analog groove, electronic funk, no-wave pulses, and retro-futurism.
The Extended Mix transcends radio boundaries, diving into a hypnotic, fluid, body-driven dimension: a sonic tide echoing cosmic italo, primitive house, and off-kilter disco, shaping a soundscape for dancefloors from another dimension.
The House Mix, finely edited by Whodamanny, is a manifesto for the floor: pure rhythmic dynamite, made to ignite bodies and let them vibrate freely. A shared and refined vision of house music, where instinct and style fuse into a single voice.
“Go Go Dance” doesn’t aim studio perfection; it craves sensory truth – the kind born of urgency, space, and the pleasure of repetition. An anthem to the most authentic and lived-in club culture, where music becomes sweat, fantasy, and freedom once again.
Oblique Records returns with its fourth vinyl-only instalment, Oblique 004, delivering a unique selection of groove-laden house and tech house cuts infused with UK garage flair. This VA release features standout contributions from Velvet Velour, Eli Atala, and Mtty, each offering a unique blend of rolling rhythms and infectious energy. From deep, bass-driven textures to crisp percussive elements, Oblique 004 is a freshly squeezed VA of club tools ready to perk up the dancefloor.
Efficient Space charts Ghost Riders’ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.
In the late ’60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklyn’s wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.
Also jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7”s on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.
Dennis’ emotional maturity and sheer talent bleed into the defining ‘Summer’s Over’, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad ‘Running Thru My Mind’ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin’ Spoonful, and The Youngbloods.
Roaring like the Spencer Davis Group, Pure Madness’ organ-driven bruiser ‘Freedom Rides’ screams of biker gangs, yet its true subject - ’60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus ‘Treat Me Like a Man’ digs back into Edelson’s catalogue, covering the Beatles-inflected Levittown group The Shandels.
Though Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood.
Mood Child Presents ‘Various Moods Vol. 4’: Six Multi-Mood Tracks from Nick Curly, Joey Daniel, Wilder (ITA), and more
Mood Child, the forward-thinking label helmed by Sirus Hood and Manda Moor, proudly unveils Various Moods Vol. 4, a striking album of six genre-blending tracks that each bring a unique sonic perspective. Set for release on both vinyl and digital formats, this carefully curated collection showcases the label’s signature commitment to innovation, groove, and dancefloor energy.
Side A leans into classy, funky house vibes, while Side B ventures into wilder, tech-driven territory, offering a versatile listening experience for both crate diggers and peak-time DJs.
The compilation marks the return of German house icon Nick Curly, Italian heavy-hitters Wilder (ITA) and Mattia Scolaro, and rising Brazilian talents Las Heras and ROKKE, who teamed up with RAMOOX for a potent collaboration. Mood Child is also thrilled to welcome Dutch maestro Joey Daniel to the label for the first time.
London based Surusinghe creates percussive, bass-driven dance music, combining South Asian rhythmic ideas with UK-rooted sounds. Her arrival on dh2 is a surefooted four-track EP of tightly-wound club gear that sees her spreading out into exciting new realms. First single received multiple plas across 6 Music, Radio 1, NTS and Rinse FM. Press support from Dazed, Resident Advisor, Mixmag, DJ Mag, Crack and NME. Upcoming festival appearences including Gala, Love Saves The Day, Parklife and Glastonbury.
- Puccio | Roelens E La Sua Grande Orchestra Tv - Caravan
- Gegè | Munari Percussion Modern - Police Man
- Don | Marino Barreto Junior- Napolitano D'o Brazil
- Tony | Esposito - Pagaia
- Naco | Volando Con Milton
- Rosario | Jermano - Grand Oceano
- Tullio | De Piscopo - Temptation
- Tony | Cercola - Lumumba
- Gabriele | Poso – Ritmo Italiano
- Agostino | Marangolo - Certi Giorni Mi Sento Bene, Certi Giorni Mi Sento Male
- Tony | Cercola - Lumumba (Clap! Clap! Version)
- Vico | Anthony And His Percussion
Red Vinyl[27,31 €]
Mr Bongo proudly presents Ritmo Italiano ‘Unspoken Sounds of Italian Tamburo’ a captivating compilation of percussive-driven, Italian gems curated by Sardinian multi-instrumentalist, percussionist and producer, Gabriele Poso. A journey into the heart of Italian musical history, it celebrates Italy’s rich rhythmic traditions, showcasing a selection of genre-traversing, Italian treasures from the ‘60s to the early ‘90s. Honouring the timeless rhythms of Italian percussion masters, alongside a brand-new exclusive composition by Gabriele, ‘Ritmo Italiano’ shines a light on the universal, primal language of the drum.
A connection sparked from an early age; percussion has always deeply resonated with Gabriele. It led to years of studying percussion traditions across Cuba, Puerto Rico, and Brazil, crafting his own songwriting skills in the process. An acclaimed producer and compiler, his releases on Yoruba Records, BBE and Soundway Records have garnered global support. Yet a growing need to rediscover the essence of his country’s cultural heritage laid the foundations for this new compilation.
In Gabriele’s own words, “Italy has always been a crossroads of civilizations, with influences from the Mediterranean, North Africa, the Middle East, and Europe converging over centuries. Ports like Naples, Genoa, and Venice played a crucial role as gateways for musical exchange, a melting pot of sounds and cultures brought by sailors, merchants and travellers. These influences blended with Italy’s own folk and religious traditions, creating Italy’s unique and emotionally resonant rhythms.”
Across the 12 absorbing tracks, there’s jazz influences, Italian library music aesthetics and experimental beats mixing with Afro-Cuban and Mediterranean rhythms. It’s a broad selection anchored by the drums. The synth-heavy, ‘80s jazz funk flavours of Gegè Munari's ‘Police Man’, sit side-by-side with the samba-infused ‘Napulitano D' 'O Brasil’ by Don Marino Barreto Jr. Tribal, earthly energy radiates from Naco’s ‘Volando Con Milton’, with Tullio De Piscopo serving up cosmic disco brilliance, and blistering jazz funk mastery coming courtesy of Agostino Marangolo. Taking the name of the compilation, a new original track by Gabriele, ‘Ritmo Italiano’, blends traditional rhythms with contemporary energy, Afro-Latin influences with Italian jazz essence. Recorded live in one take, it captures a raw, unfiltered vibe.
“Each track tells a story, connecting the past with the present, and highlighting the deep-rooted traditions that shape Italy’s rhythms. The collection also offers a glimpse into the diversity of Italian music with a variety of styles from the organic, earthy beats to the more experimental and modern takes on traditional rhythms. It’s a reflection of how these rhythms have not only shaped Italian culture but also influenced global music.”
The cultured creative minds of James Simonson and Blair French reunite for this new Realities Remix EP on MotorCity Wine which was, in original form, recorded by Simonson in hotel rooms across Europe and the Americas while touring with soul legend Bettye LaVette. As such it takes in myriad global influences as well as evocative field recordings which get reworked in style. Blair French adds his touch with three remixes, firstly the anthemic 'Realities (Projector Remix),' then the more dance-driven 'Elektronolux Overture (Sunday Remix)' and the lush and downtempo 'Hannah (Remix)' featuring violinist Sonia Lee. Two originals 'Realities' and 'Elektronolux Overture' also appear on vinyl for the first time and sound superb.
Arkeo is my most eclectic and techno-driven album to date—a fusion of my love for subterranean aesthetics and my deeply-rooted connection to Detroit’s underground music scene.
While always keeping the dance floor in mind, this album also reflects something more personal: my spiritual journey and how it applies to my daily life.
Arkeo represents the awareness that I have weaknesses, but rather than seeing them as limitations, I view them as opportunities for God's power to work through me. It’s a reminder that my dependence on Him allows me to walk more fully into the abundant life I’m meant to live.
Jesus said, “My grace is sufficient for you, for my power is made perfect in weakness.” — 2 Corinthians 12:9
As you listen, my hope is that you don’t just hear the music, but that you feel a connection to something deeper.
LPV makes a striking debut on Monnom Black with an expansive double EP, delivering eight meticulously crafted tracks that fuse dub, bleep, and bass into peak-time weapons. His release showcases a dynamic range, from intense, Basic Channel-inspired dub techno workouts to deeper, bleep-laced techno grooves that weave hypnotic precision with relentless drive. Each track is a versatile cut, crafted for special moments, blending atmospheric depth with pure momentum, cementing LPV's arrival as a formidable force.
- A1: Don Toliver - Lose My Mind (Feat. Doja Cat)
- A2: Dom Dolla - No Room For A Saint (Feat. Nathan Nicholson)
- A3: Ed Sheeran - Drive
- A4: Tate Mcrae - Just Keep Watching
- A5: Rosé - Messy
- A6: Burna Boy - Don't Let Me Drown
- A7: Roddy Ricch - Underdog
- A8: Raye - Grandma Calls The Boys Bad News
- B1: Chris Stapleton - Bad As I Used To Be
- B2: Myke Towers - Baja California
- B3: Tiësto & Sexyy Red - Omg!
- B4: Madison Beer - All At Once
- B5: Peggy Gou - D.a.n.c.e
- B6: Pawsa - Double C
- B7: Mr Eazi - Attention
- B8: Darkoo - Give Me Love
- B9: Obongjayar - Gasoline
Atlantic Records is thrilled to announce F1 The Album - the supercharged companion album to Apple Original Films and Warner Bros. Pictures’ high-octane, action-packed film F1, starring Brad Pitt. From the label that brought you the award-winning, blockbuster soundtracks Barbie The Album, Twisters: The Album, The Greatest Showman, Suicide Squad and more, F1 The Album is driven by brand new tracks from an exhilirating lineup of superstar artists.
SofaTalk is an Italian producer known for his eclectic and genre-blending approach to electronic music. Drawing inspiration from the global underground, nu-jazz, and his roots in Italy, his sound is rich, experimental, and difficult to categorize, yet always engaging. Alongside running his label Cognitiva Records and curating events and radio shows, he continues to refine his style through remixes and collaborations.
His latest project, *The Soul's Code*, released via Oathcreations, is an 8-track album that further explores his unconventional sound. Featuring collaborations with Veezo and Zopelar, the album fuses house, funk, broken beat, dub, and jazz in imaginative ways. Tracks like "Dub Lush" and "The Truth" highlight SofaTalk's ability to craft deeply textured productions, while "Paradiddle," "Complex Journey," and "Around" showcase his playful, lo-fi sensibilities and love for rhythmic experimentation. The album closes with "Magpie Rules," a dreamy, breakbeat-driven finale that captures the surreal energy of the entire release. With support from artists like Fred P, Carista, and Bradley Zero, *The Soul's Code* is another bold step in SofaTalk's constantly evolving musical journey.
- A1: Delenz & Zeitstill – Place To Be
- B1: Superpitcher – Dream B
- C1: Patrice Bäumel – Nat
- D1: Sawlin – Der Jasager
- E1: Dc Salas – Escapism
- F1: Tal Fussman – Eyes
- G1: Ken Ishii & Yuada – Split Second
- H1: Marcel Fengler – Aura
- I1: Impérieux – Kala
- J1: Joe Metzenmacher – Da Freak
- K1: Joseph Capriati – Cosmopop
- L1: Matthias Schildger – Distorter
Limited Vinyl Box Set including 6x olive 12” vinyl & download code
Cocoon Recordings presents: Cocoon Compilation V
Back for the summer season, Cocoon Recordings proudly unveils the next chapter in its iconic compilation series. With its 22nd edition, Cocoon Compilation V once again bridges past and future, showcasing the essence of electronic music’s constant evolution. True to the spirit of the label, this handpicked collection delivers a diverse, emotional, and forward-thinking selection that drifts through shimmering currents, pulsating machinery, and moments of pure release.
Delenz & Zeitstill set the tone with “Place To Be”, a smooth and warm opener that invites the listener into a meditative microcosm. What starts as dreamy minimalism steadily unfolds into deep, shimmering depth. A sublime invitation to get lost in sound. Superpitcher takes us further into the mist with “Dream B”, an ethereal and cinematic dreamscape that floats between melancholy and magic. Its stretched textures and hypnotic pacing form a gentle passage into inner space.
The energy intensifies with Patrice Bäumel’s “Nat”, a sophisticated tension-builder with a subtle pulse and haunting atmospheres. Sound waves that breathe, evolve, and subtly command movement. Sawlin switches gears with “Der Jasager”, a deep technoid beast that hits with low-end pressure, modulated percussions, and gritty textures and spooky features. Raw, physical, and unrelenting.
A bright contrast comes from DC Salas and his track “Escapism.” Psychedelic, synth-heavy, and effortlessly groovy, it channels the playful side of electronic storytelling. It channels a trancy 90s flair with its vibrant energy, brilliant use of choir bits, and irresistible vibe that transports you back to a golden era. With Tal Fussman’s “Eyes”, we’re taken into euphoric territory. This stomper is a conversation between piano and strings, rising above crisp grooves, weaving emotion and momentum with finesse.
On the second half of the journey, legendary Ken Ishii teams up with Yuada to deliver “Split Second,” a bold, wild and crazy techno excursion full of mechanical grace and Japanese precision. An ode to organized chaos. Marcel Fengler’s “Aura” follows, powerful and deep, pushing air like an engine through tunnels of tension and light. The blend of rhythm and sentiments is a masterclass in functional elegance and states of mind.
Impérieux brings us “Kala,” a track both twisted and beautiful. Its detuned hypnotic melodies and skewed harmonics are unsettling in the best way while the unconventional rhythms cloak the entire track in a mysterious aura. It creaks and twists toward transcendence, underscored by primordial flute sounds. A fractured lullaby for the club. Joe Metzenmacher injects wildness and attitude into the mix with “Da Freak.” Fuzzy, distorted synths collide with a funky bassline, sharp guitar stabs, and mad bleep effects, bringing the raw groove and dancefloor chaos of a bygone funk era into a futuristic setting.
Joseph Capriati debuts on Cocoon with “Cosmopop” and surprises with an unexpected stylistic shift. Capriati explores a more melodic, emotionally driven sound. Subtle harmonies meet a warm, rolling groove. It’s a bold and personal statement, showing a new side of an artist who continues to evolve beyond expectations. To close, Matthias Schildger offers “Distorter,” a raw and emotional cut that leaves room to breathe while keeping the mind spinning. It begins with beautiful pads, before distorted kicks drop in, yet the track retains a certain tenderness, like the feeling of sitting at a tranquil, untouched nature spot, surrounded by the beauty of the world. A grand finale to a compilation that refuses to settle.
From sunrise moments to peak-time madness, Cocoon Compilation V captures the full spectrum of what dance music can be. Transcendent, visceral and endlessly evolving. This isn’t just a collection of tracks. It’s a curated experience for the body, the mind and the soul.
From a 4x5m room stacked with vinyl, ashtrays, magazine drafts, and semifunctional synths, Stompin n Risin rises again—reincarnated but not revised.
Originally a spontaneous ritual from the days of blunted dreaming and one-eyeopen ambition, this track first snuck into the world under a different name (Jacobite Fool, courtesy of those tasteful Belgians at International Feel) and went on to become a cult curio. Now, it’s back—rebuilt with the very same machines that once hummed beside the mattress, but still left to run wild like they used to.
The rest of the EP stays close to that spirit: music as lived experience, jammed with friends, lovers, and ex-boyfriends (literally). Lucy’s Electricity is a shimmering daydream, born from a jam with Daniele Labbate, recharged by a whirlwind wedding, and soundtracked by a bittersweet guitar line courtesy of the groom’s bride’s ex. A track for walking into churches—or out of time entirely. A personal favorite of the artist, and maybe the only funeral anthem with this much static joy.
One takes things inward—made with the Moog One for open-air yoga sessions during the era of no-dancing-but-still-dreaming. It’s a sun-dappled, slow-motion dancefloor where breath and bass align. Love 2 Love closes the circle: an unearthed jam with long-time collaborator and platonic supermodel Hanne Uekermann, revived from hard drive purgatory and infused with new life. A love song to the music, the moments, and the friendship behind it.
This record isn’t just a collection of tracks. It’s a lived-in photo album, a soft pulse through oceanic memory, a reminder that all sound comes from life, and maybe all life comes from sound.
J.E. Movement's groundbreaking ‘Ma Dea Luv’,
Toward the end of the 1980s South Africa's recording industry was booming. Searching for a sound that could cross over to all in the country's segregated society while also eyeing international success, a new duo emerged that quickly rendered its 'bubblegum' predecessors obsolete. Drawing on international trends and crafting lyrics for local ears, J.E. MOVEMENT — a duo made up of James Nyingwa and Elliot Faku — exploded onto the local scene with their debut album, 'Ma Dea Luv'. The future had arrived.
A talented bassist and composer, Nyingwa was at the time employed as an in-house producer at TRS Studios in Plein Street in downtown Johannesburg, run by two Greek immigrants, George Vardas and Chris Ghelakis. Together they formed a close bond as friends and musical partners at what would become CSR Records, recording original hits with acts like the NEW AGE KIDS and SIDNEY, while also cashing in on cover versions as BLACK BOX.
The six tracks on J.E. Movement’s 1988 debut give firm nods to UK Street Soul, New Jack Swing and Stock Aitken Waterman's 'Hit Factory' sound and infuse them with an African rhythmic flair and homegrown lyrical sentiment. Though not expressly political, the title track was received by many as a play on words referencing then-jailed and banned Nelson Mandela (coming after the similarly styled 'I'm Winning My Dear Love' by Yvonne Chaka Chaka in 1986 and 'We Miss You Manelow' by Chicco in 1987), giving it an added potency for those in the know. 'Jack I'm Sorry' was an underground hit in the townships, while 'Marco', 'Friends', 'Funkytown' and the eponymous closer are similarly bass and drum-driven, with hiphop-styled vocals.
M.R.E. is Michiel Eskes - a hot new talent from Holland. His music is deep, emotional and full of finely tuned melodies, these two tracks show off his style perfectly. His two tracks on this EP were written especially for FT having been chased down for them since the label first heard his music. ReKab is back with his trademark deep techno and a 9 minute workout on his "Climbing High" track. "Always Having Fun" is a melody driven bubbling acid track on the flip, if you love ReKaB these are essential. FTV005 is limited to 150 copies and comes on coloured, marbled, eco-vinyl with an insert showing "Post Clubbing Exercises" for when you have thrown too many shapes on the dancefloor the night before!
It’s just Business as Usual. A new series of straight-up sonic assets, with serious return potential. They’ve called in the specialists - Matthew Hartshorn, Girolle, DAT, and Curity. Uncompromising pressure, these are tools for the late shift. High-risk, high-reward dancefloor business. This is your Diversified Portfolio Vol. 1.




















