Conjured up on his arsenal of machines, French artist Lostsoundbytes provides six tracks of heavy, dubbed out rhythms combined with swirling textures and blood-curdling soundscapes. Also featured is a stellar remix by Warzou, preserving the track's dubby atmosphere whilst cranking it up to a more club-friendly pace. Limited to 100 copies.
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2024 repress!
Masters at Work member Kenny “Dope” Gonzalez is the genius behind The Bucketheads – The Bomb! (These Sounds Fall Into My Mind). An established History of House hall of famer’, The Bomb’ is a 90’s house, party soundtrack essential that mixies electro, hip-hop and 4/4 house it features samples from Chicago’s ‘Street Player’ & Green Velvet’s ‘The Preacher Man’ fused into a disco-funk and house groove with edgy, funky, rough and ready beats and subtle latino flavour. It easy to see why its ranked in the 100 Greatest Dance Singles of All Time! Portuguese house producer Massivedrum is on remix duties. He has remixed dance royalty from Bob Sinclar, Axwell, Mory Kantè, Alexandra Stan, DJ Chus, Kentphonik, Yolanda B Cool among many others. He lends his house sensibilities and ear for the floor to enhance ‘The Bomb’ to new levels for an unforgettable experience. Besides the Massivedrum remix and it’s dub, also the full 14’51” minutes original version is available on this double A sided release! The Massivedrum remix is taken from the album “High Fashion Dance Music 5 – Mixed by Ben Liebrand”, which is available on LP/CD/MC and DCC.
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2025 Repress
British tour de force Rene Wise is an exciting talent synonymous with hair-raising and hard-nosed Techno. A name that's been confidently claiming its stake in common lexicon with a passion for polyrhythms, forward-looking frequencies and kaleidoscopic beats. It's the mind-expanding potential of his favourite genre that forms the basis of his new vinyl release on Bassiani Records. Drawing on personal experiences of the psychedelic sort, he also cites the role of atmosphere and spatial configuration in the making of his sound, in his own words: 'the space that the music is presented in, is hugely important and there are some very unique and special spaces in the world that capture the true essence of how techno music should be experienced. Bassiani is one of these places.' Well that praise goes both ways, it's hard to imagine a more fitting EP for the club. This four track release is both an homage to the Bassiani floor and a powerful dive into a trippy realm of Techno Wise has spent his years as a musician diligently exploring. A third eye journey across oscillating soundscapes and sonic horizons from the trailblazing techno wunderkind.
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The next record on the TW special edition series is here. Mostly known for his deep and dub house sound, Thomas delivers us two ambient tracks on this 7“, a proper demonstration that he produce a wider range of musical styles than house. Also as dj he plays beyond the genre and this leads to disco, soul, gospel to balearic and ambient influences in his sets.
So this two sounds take you out of time and will let you drift in to a dimension of goodness. Let yourself be embraced by this atmosphere.
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STRANGER STILL was Julian Cator (guitar), Paul Cator (piano, organ, synthesizer), Tim Warnes (bass), Frank Warnes (vocals, drums) and Ian Johnson (vocals, drums) from King’s Lynn, Norfolk, UK. The two sets of Cator and Warnes siblings had been playing together in bands since 1974, with Ian joining in 1979, and with their musical style evolving from glam influenced rock to punk/new wave (punk came late to Norfolk) and finally post-punk, influenced by Ultravox!, Magazine, Joy Division, Bauhaus and Killing Joke. Their first gig together was in September 1979 with John Peel being in the audience. The Solitude/Survivor single was recorded in July 1981, released in November and sold well locally. John Peel played Solitude, between singles by Winston and Screen 3. When Julian left in autumn 1981 the others continued, later changing their name to Nothing Sacred. Ex-members have since played in a number of other bands, most notably Paul and Tim in Shine!, and Julian and Paul in Ivy.
Solitude opens in a perfect analogue way with a ‚primitive’ rhythm machine pattern and a dark synth sound fading in. We shall be glad for the band’s move towards electronics while knowing „given the negative reaction we got from some of the local bands when we got the synth a Moog Satellite“, quoting Julian. When the real drums, guitar, bass and vocals also come in, you’re in for one of the most perfect post-punk songs, yet playful but ultimately bleak. “And then I can feel nothing more. Alone again, with no sensation.“ Survivor is more uptempo and bass-driven, reminiscent of early Death In June (who came later though). Lyrics like “4 minute warning warning – the sound of today. Our new dream world – Enola Gay.“ set the mood there.
The band composed a dozen of songs, demos to get gigs, which were unfortunately never recorded properly in a studio. So these are demos or rehearsal tracks, never released to the public and presented here for the first time ever as an additional 15 tracks download-only (due to the poor sound quality). You’ll find fantastic tracks like Brave New Berlin or Cardiac Arrest, which is reminiscent of Death In June’s In The Nighttime, and then, there is a demo of Solitude too!
Here’s to a piece of post-punk history!
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RE:WARM Records are very pleased to announce their next release 'Rituals', a new compilation series from the curator and DJ, Josh Mason-Quinn, aka Somewhere Soul.
For Volume 1 Josh takes us on a journey through the various shades of his ritualistic listening habits across twenty-four hours. From rising first thing in the morning, radiating positive energy throughout the day, retreating into the evening before finally releasing your inhibitions on the dancefloor.
The compilation spans four sides of vinyl and is presented in a double gatefold sleeve. The release will also be available on CD and digital formats.
The album is a celebration of new and emerging talent from the underground Jazz, Soul, World and House Music spheres, sitting neatly alongside artists already carving their way into the collective conscience of those who have been curious enough to dig deep.
The record is due for release on 25th July 2025 with the pre-order available 23rd April 2025 via the Warm Agency Bandcamp and selected record stores.
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Drawn from years of early-hour sets and the quiet intimacy of the booth before the room fills, Gimme The Sun marks the debut EP of Al-Veez (real name Alvise Marino). A seasoned guitarist raised in Italy with musical roots in funk, boogie, and blues, Marino’s release is a sonic travelogue of his formative years as a selector in a city, NYC, that quietly became home. The prominent guitar captures both the ache of departure and the bright, restless hope of return.
With a wistful blend of beachy, meandering textures, lush synth layers, and a hypnotic pulse, the EP lands in time for another steamy summer in the city—sure to strike a chord with longtime NYC house heads, whether they be behind the booth or lost in the crowd. Arranged in close collaboration with TSoNYC label boss Danilo Braca (also on mixing and mastering duties), theshimmering title track reads like a Dear John letter to New York. Tender, honest, and full of gratitude, it’s the kind of farewell only a true love could inspire—one that dances forward even as it looks back.
As the record warms up, “F Train Boogie” evokes snapshots of bright midsummer mornings gazing out a scratch-blurred train car window at the glistening city, while the track that follows, “Sneaky”, sizzles with cosmic allure—an intoxicating blend of luminous synths, tightly interlaced rhythms, and a commanding kick drum that locks the listener into an entrancing groove from the very first bar. “Underwater”, the fourth and final track, shares some of the same allure and mystery, but features a playful optimism, encouraging the listener to lean into curiosity of what the next chapter, night, or DJ set will hold.
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Huge Detroit re-issue from Emotions Electric! Motion EP was originally released on Richie Hawtin's Plus 8 label back in 1991, and is considered one of the milestones in techno history. Here we get all the 3 original tracks and also a very nice addition with the Gates Of Heaven track. All in all a must have essential release, BIG TIP!
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Italy’s Tuccillo is back on Kaoz Theory this July with his ‘First Summer’ EP, once again showcasing his widely lovely interpretation of stripped-down, groove-led house. Making his start in the 90’s and still as relevant as ever, Tuccillo, has become highly sought after both for his records and as a DJ, his name is synonymous with gritty, groovy and dance floor focused jams which have found a home on many reputed imprints such as Visionquest, 20/20 Vision, Free-range, his own House Of Tucci and of course Kerri Chandler’s Kaoz Theory where he returns here. Tuccillo also operates as one half of the Doublet duo alongside Holic Trax boss Tomoki Tamura amongst many other sonic side ventures. Opening is title-track ‘First Summer’, perfectly setting the tone with Tuccillo’s distinctive style which utilises, fluttering stab sequences, bouncy bass tones, choppy vocal cuts and a bulbous bass groove atop a raw, reduced rhythm. ‘One More’ follows next and leans heavily into dub house realms with gritty, echoing dub chords, ethereal pad textures and murky bass swells delicately ebbing and flowing around a saturated swinging drum groove. ‘People For The People’ follows next and lays down organic percussion with filtered funklicks, a snaking bass line and jazzy keys before ‘Gotta Be Free’ concludes the release, heading back to a more stripped-back aesthetic courtesy of twitchy acid-tinged bass hits, fluttering synth melodies, crisp drums and an amalgamation of processed vocal chants throughout.
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Plying refracted rhythms with an exacting poise, Aerae arrives on Samurai Music with a fully formed sound that plumbs the depths between techno immersion and D&B beat science.
An accomplished, palpable tension runs throughout Nefanda, Aerae's second solo release. Following up on the meditative pulse of her debut album on Annulled Music last year, the Paris-based artist digs deeper into ominous atmospheres filled with evocative reverb decays and taut, dynamic drum work - tools she wields to Redner tracks with specific meaning, coded by the Latin framing that runs through all aspects of her musical output. Contemplating the ancient language as an inescapable part of her European roots, on Nefanda Aerae ruminates on external trials and inner impulses, and conjures a jaw-clenching soundtrack to match.
'Mons' (translation: 'Mountain') speaks to challenges, strength and spiritual ascent, marked out by an urgent thrum of conga slaps and a 4/4 kick around the 170 BPM mark that finds power in minimalism even at the relatively high tempo.
The title track opts for a more broken framework, pivoting pointed percussion around a deft sub pulse while turning up the intensity with an exacting poise.
'Nefanda' translates as 'unspeakable,' or 'too horrific to name,' and the fraught, synthetic wraiths contorting through the track convey the dread the title implies.
'Fovea' (translation: 'pit') burrows deeper into spatial design with a looming low end rumble and subliminal sound sculpture, shaping out a dark, introspective chasm tipped towards disassociation. It's a powerful statement in any setting, but the all-consuming bass feels especially crafted for full, physical sound system immersion.
'Phrenesis' (translation: 'frenzy') rounds the EP out in fierce form, building up a high-pressure arrangement from ambient beginnings with ruthless control. There's a sense of duality in motion between half-time and double-time rhythmic elements, every incremental shift adding to the intensity of the track with the elegant, impactful touch that has fast become Aerae's calling card.
Finding her own language within the dialogue between techno, D&B and dark ambient, Aerae's music makes a vivid impression thanks to the ideas and intention that drive her in the studio. Nefanda confirms her status as a leading light in deep, psychedelic dance music, making something extremely personal that also reaches out beyond notions of the self like all the best transcendental music.
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There’s a reason they call it deep House. On 'The New Jersey' EP, DJ Romain doesn’t just nod to his roots, he digs into them, scooping out a warm, rhythmic core that pulses with sweat, memory, and reverence. This is not a revival or a pastiche; it’s a love letter etched in drum machines and delay, from a producer who’s lived the lineage.
A fixture of late-’90s NYC dance floors, Romain cut his teeth in the city’s thumping underbelly, learning from the likes of Todd Terry and later carving his own signature into the genre’s sidewalk. Across these four freshly cut tracks, Romain channels the same urgency that once drove dance crews, celebrities, and nightlifers alike into motion, and still does.
Lead track “Hello New York” is a no-nonsense DJ tool, a serrated slice of big room energy built around snapping snares, a jackhammer kick, and a spoken word vocal that bristles with pride and uplift. “Put more cut in your strut… pride in your stride” - it’s part mantra, part mission statement. “But It’s Alright” flips the vibe, conjuring up basement jazz sessions through dusky chords and a muted, plucked bassline that slinks like a late-night subway ride.
On “Check Your Pockets,” the energy turns inward and abstract, a woozy, psychedelic House jam that feels like dancing through a heatwave haze. He wraps the record with “Deep Inferno,” a peak-time burner full of sticky Afro-funk polyrhythms, clashing vocal chops, and steam-pressure percussion. It’s unhinged, hypnotic, and gloriously raw.
Having revisited his archive with ‘The Lost D.A.T.S.' series, Romain returns to Hard Times not as a nostalgia act but as a flamekeeper - still innovating, still sweating, still firmly on the floor. The New Jersey EP is a love letter, yes, but it’s also a reminder: House never left. It just got deeper.
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Swimming Paul's first album is available again as a new edition.
In the vibrant city of London, a talented French producer named Swimming Paul made his mark. While he had already spent several years producing music for others, Swimming Paul felt a strong calling to embark on his own creative project—one that would redefine the concept of dance music and infuse it with meaning.
Paul drew inspiration from the early days of house music, recognizing it as more than just a genre. It represented a cultural movement that united people from diverse backgrounds. Motivated by this spirit, Swimming Paul sought to create music that not only made people dance but also brought them together and conveyed powerful messages.
With each composition, Paul approached his work as an artist would approach a blank canvas. He poured his heart and soul into every beat, melody, and rhythm, meticulously crafting a sound that blended elements from various genres while bearing his own unique touch. His music pulsated with the infectious energy of a crowded dance floor, yet it also possessed the ability to evoke deep emotions and provoke introspection.
Swimming Paul’s vision extended far beyond mere entertainment. He aspired to establish a space where people could connect, express themselves, and find solace in the universal language of music. Every track he produced served as an invitation to embrace the present moment, to let go of inhibitions, and to discover the transformative power of music.
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Big Disco Dub 12″ on the obscure Jahtari spin-off Jahmiga, exploring the sweet spot between funk bass and echo chamber with two certified heaters produced by LA axe master Dubsworth and disrupt.
UK dancehall veteran Speng Bond spins a big heart-shaped tale with ‘Empress’ on the A side, meshing his signature ragga-comedy flow with uplifting lofi jazz funk vibes into a sexy anthem that will put a big smile on faces and Reggae sound systems alike.
On the AA-side the enigmatic voice of Domino Slims takes you to an all too familiar scene: the DJ drops your favourite song – but suddenly someone tries to chat you up! ‘Don’t Talk To Me Now!’ can be the only answer when this thumping slap bass epic hits the floor.
Also watch out for the hypnotic Dub cuts, two groove-focused percussive workouts layered with mystical vocal haze by Kimchi Shocka and plenty of Space Dust sparkled on top.
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Archeo Recordings is a record label.
Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene mostly from Italy but also from all over the world for a wider audience of collectors, DJs and music lovers. All releases are limited edition.
This release is a Limited Edition 12" (100 on Sun Orange Marbled vinyl). New life and an expanded treatment of Feel Fly's epic Balearic / Italo House Sole (Flexi Cuts 2024), with the Extended Versione Tramonto (previously unreleased on vinyl) and 3 new Remixes by none other than Radiomarc (Popcorn Groove), Issam Dahmani and Amarcord.
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Archeo Recordings is a record label.
Old, lost, obscure and forgotten gems and a boundless focus on the new Balearic scene mostly from Italy but also from all over the world for a wider audience of collectors, DJs and music lovers. All releases are limited edition.
This release is a Limited Edition 12" (100 on Sun Orange Marbled vinyl). New life and an expanded treatment of Feel Fly's epic Balearic / Italo House Sole (Flexi Cuts 2024), with the Extended Versione Tramonto (previously unreleased on vinyl) and 3 new Remixes by none other than Radiomarc (Popcorn Groove), Issam Dahmani and Amarcord.
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Leng Records proudly presents Everything You’re About to Hear Is True: Volume 1, a compilation carefully curated by Rotation Soundsystem. Brought together by Rotation founders Dean Meredith and Ben Shenton, alongside the Wrekin Havoc trio of Rob J, Stuart Robinson, and Rich Hall, this debut volume captures the collective’s shared vision – shaped by decades of crate-digging.
Founded in 2013, Rotation has grown from a modest gathering in Staffordshire into a thriving community of like-minded music lovers, attracting heads and partygoers from across the UK – and well beyond. What began as an intimate affair has evolved into a full-scale, three-day celebration, now held in a grand yurt and powered by a bespoke six-way sound system. The rig features four Klipschorns, two JBLs with twin 18” and 15” sub reinforcements, compression horns, and an Isonoe 420 mixer.
Meredith explains: “With the help of my brother, Martin, I’m constantly looking at ways to improve the setup. I love the way Larry Levan did that at The Paradise Garage. We have a few things that are custom-made. I want our system to be unique to us.”
According to regular attendee, DJ and writer Steve KIW: “In the right hands, the sound system at Rotation – very much Dean’s labour of love – is untouchable. The comparisons with Mancuso’s Loft come easily because they are deserved. There isn’t a bad spot in the yurt. Wherever you are, it sounds incredible.”
As the dancing continues through the weekend, the DJ line-up has grown to match the occasion. Guests and headliners have included a roll call of legendary selectors: Bill Brewster, Colleen “Cosmo” Murphy, Phil Mison, Nick The Record, Ruf Dug, Mark Seven, and The Idjut Boys — the latter playing a marathon 10-hour set in 2024. The parties have also featured live performances from Emperor Machine, Quinn Lamont Luke, Reuben Vaun Smith, and Orbs of Light.
Presented on gatefold double vinyl, this lovingly assembled collection is the result of decades spent digging through dusty crates, reflecting the selectors’ deep-rooted passion for uncovering rare gems and overlooked treasures. Decidedly European in spirit, the album brings together 14 rarities with standout selections from Belgium, Sweden, Italy, Germany, and France. The vast majority of tracks are true obscurities, and nearly every one is a mid-tempo bumper.
“This has been a long time coming – something we’ve always dreamed of doing. We’re incredibly thankful to Leng Records, who understand our vision and what we’re trying to build. This compilation pulls together some of our favourite tracks from over the years. It’s not just a playlist – it’s a journey, a window into the sound of Rotation,” says Meredith.
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Wewantsounds is delighted to reissue Charles Kynard"s 1972 cult classic Woga, recorded in Los Angeles for Mainstream Records and featuring top-tier musicians Chuck Rainey, Paul Humphrey, Arthur Adams, and George Bohanon. Produced by Bob Shad, the album stands as one of the label"s funkiest releases, showcasing Kynard"s signature Hammond organ grooves. Woga is reissued here on vinyl for the first time since its original release, complete with its original gatefold artwork using first-generation session photos. This edition also includes the bonus track "Smiling Faces Sometimes" and comes with newly remastered audio plus a two-page insert featuring new liner notes by Kevin Le Gendre.
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Repress
They say that good things come in threes... it must be true and Favorite Recordings also proudly presents the third edition of its acclaimed French Disco Boogie Sounds compilation series.
Like on prior volumes, the complete tracklist is selected by label head honcho, Charles Maurice (aka Pascal Rioux), who's unearthed 13 more forgotten and hidden tracks, all produced whether in France, in French, or by French artists between 1977 and 1987.
With most of these titles now very hard to find in their original edition and unknown by many, this compilation should be a must have for any Disco-Boogie-Funk music lover and collector.
Fully remastered from originals at The Carvery Cut (UK), French Disco Boogie Sounds Vol.3 (1977-1987, selected by Charles Maurice) is presented by Favorite Recordings in a gatefold vinyl double LP and as CD.
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6LP Edition[79,79 €]
Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch
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