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Transmissions from a lost tape by the enigmatic Italian producer CVE, recorded in Naples, 1996. Hypnotic 303 acid lines ripple through the mix — a raw, Rephlex-era pulse bridging UK and Italy. No frills, just pure, unshakable dancefloor heat.

That suspended moment when the body lies motionless, a prisoner of sleep, caught in an enigma that resists all solutions.

Sleep Paralysis dives into dark, immersive sounds, recounting an intimate and complex journey where darkness itself becomes a voice, a mirror of the soul.

Pub ‘Mamor’ ep. Recorded at the start of summer 2025.

Pub executes an atmosphere of rich wandering minimal wooziness that unfolds into subtle complexity with an elegant sense of drama and complimentary harmonics.

It is to be the first of new music to be expected from the artist this year. A series of intimate live tours in obscure locations are to follow, alongside a remix for Heathered Pearls.

Carefully arranged jazzy cuts circle the first appearance of the enigmatic Edrift. For sure a future classic to fill your colorful afternoons, or to serve as a tapestry for late night conversations, will most likely end up on your forever loved records. Lovely melodies drift in perfect balance on top of some of the coolest beats. Unpack, throw it on the turntable, and enjoy it in the most relaxed way, as it was intended.

In the heart of a post-apocalyptic city, Spacelunch was making his way through the ruins, wearing a heavy armour of metal plates and flickering circuitry. Cat settled on his shoulder, listening intently to every sound. This time, they weren't just looking for an artefact — their target was the Singularity Echo, a mysterious device created right before the catastrophe. Legend had it that the scientists of the past, sensing the impending collapse, had put all their accumulated experience and knowledge together to create it. It was said that one day “Echo” would awaken and allow descendants to touch the wisdom of the ancients, learn the secrets of forgotten technologies and, perhaps, avoid the fatal mistakes of the past.

— We’ve been wandering around for how long? — muttered Cat, looking around warily. — And nothing.

— Sitting up there complaining, aren’t you? — Spacelunch grinned, deftly bypassing the debris and intertwined roots that poked out from under the asphalt.



Suddenly, a glow flashed before them, gradually taking the form of a palm-sized transparent crystal. It floated in the air, surrounded by silver lining that wove into intricate patterns, like a network of ancient runes. The symbols on its facets, flickering, cast soft reflections on the debris around them. As the professor slowly reached out his hand, the crystal shone brighter, and the low whisper of distant voices cut through the silence. Their minds were enveloped by the echoes of past events, filling their minds with images of the vanished world.

The friends froze for a moment, overwhelmed by shock and a sense of profound change.

— Well, — said Cat, not hiding his surprise. — It seems we've gotten a little smarter.

— A little? Now we have what has been lost for an era.

— So, we have a new adventure ahead of us. Where do we start?

The ghost town, once seemingly lifeless, now seemed to come to life: every collapsed building and every corner sparked with traces and clues as if the world itself was holding its breath, waiting for a sign.

The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD.

Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.

Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge. This plays an important part in the sound production by creating a brief contact between the string and the upper rim of the bridge, thus modifying the vibrating properties of the string. In this manner, the spectrum of the sound is considerably enhanced (up to over 10 kHz).

The begena is a very powerful instrument, it keeps the devil thirty steps away, and its presence in the home wards off malicious spirits. Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicians, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which "gives birth" to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.

Recorded by Stéphanie Weisser in Addis Ababa, Ethiopia, March 2002-December 2005.

Mastered by Renaud Millet-Lacombe.

Issued under license from VDE-Gallo, Switzerland.

Presenting a joyous double dose of Brazilian pífano magic by João do Pife, taken from his iconic Folclore Alagoano LP and pressed for the first time on 7” vinyl. The infectious, uplifting energy of the instrumental track 'Garoto Do Pife' has been a dancefloor weapon for revered selectors such as Gilles Peterson, Cliffy and the Mr Bongo DJs, and we are proud to be reissuing it for the first time.

The pífano, pifaro or pife, which creates the distinctive melodies in these tracks, is a simple seven-hole woodwind instrument from the Northeast region of Brazil. Often made out of bamboo or taquara wood, they are rich in folkloric music tradition and paired with percussion instruments to form the Bandas de Pífanos groups, which originated from the Northeastern states of the country. "Pifeiros” such as João do Pife, Edmilson do Pífano, and Carlos Malta brought the pífano into a wider public eye through their albums and vinyl recordings.

A part of pífano maestro João do Pife’s rich legacy, these two mesmerizing and timeless tracks originate from his sought-after 1975 LP Folclore Alagoano, released on the Tropicana label. Born João Alfredo Marques dos Santos in 1943, in Riacho das Almas, João do Pife became an ambassador of Northern Brazilian culture and folklore through his music, which placed the pífano centre stage.

For this 7" issue, we have curated two of our favourite tracks from the album, 'Garoto Do Pife' and 'Homenagem a Ludugero', that exude a driving and joyous dancefloor energy. With lively accordion and organ accompaniments that weave around João do Pife's sublime pífano playing, they channel a folk spirit that will resonate deep within your soul.

As inspiration for the picture sleeve, we have adapted the original cover photo art for this 7 inch issue. João do Pife’s music, which is housed within, will sweep you away to Northeastern Brazil in an instant.

Irish born, London based Tree Threes aka Jamie Meehan joins the Soul Quest family for their 8th release of 2025 with a dance floor ready 4 tracker that could only come from someone who has studied authentic Deep House. With releases on Nervous, Morris Audio, Kolour and most recently Special Grooves, Tree Threes once again flexes his production skills which were honed at Secret Sundaze school, combining disco, jazz and soul influences all under the Deep House umbrella.

During this summer’s European tour with Junior Dell & The D-Lites, we were honoured to share the stage at This Is Ska Festival in Germany with none other than The Pioneers.

After the show, fate had me driving Jackie and George back to the hotel. On the way, we got to reminiscing about our last collaboration — Jump Up!, released on Original Gravity Records in December 2023. Mid-conversation, Jackie casually said: “Hey Neil, I’m in England all of July, we could record something.”

I dropped the guys off, said goodnight, but as soon as my head hit the pillow, an idea sparked: wouldn’t it be cool to have them record Jackie Edwards’ northern soul classic I Feel So Bad — but reimagined in an early reggae style?

So in July, we set up a session at Farm Factory Studios in Welwyn Garden City. George and Jackie came down, and it was nothing short of magical to hear these legends harmonising together once again in the booth. The result captures that late-60s moment when soul and reggae collided on dancefloors, raw and full of energy.

To add another dimension, we also created a version as if it had traveled from Kingston to London. The “Boss” version imagines the raw Jamaican master — while the A-side reflects how Trojan Records might have “sweetened it up” with horns and strings for the UK pop market.

Two sides, one timeless tune — a tribute to both the grit and the gloss of reggae’s golden era.

The Weeknd's sophomore studio album Beauty Behind The Madness was released in 2015 and features the #1 hits "Can't Feel My Face" and "The Hills." 10th Anniversary Edition 2 LP set is pressed on standard weight transparent vinyl.

Cassette edition of Death Is Not The End's contribution to the Blowing Up The Workshop mix series.

"A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."

Excellent cuts by Lenson, the man behind Rotterdam Electronix returns on Tar Hallow.

Vinyl LP pressing. Electroacoustic saxophonist, improviser, and composer Cole Pulice traffics in shimmering, otherworldly beauty. On the meditative ambient jazz of Land's End Eternal, Cole adds a welcome new texture with the introduction of the electric guitar, an instrument previously unheard in their music, which took on a central role as a compositional and sonic tool for this record.

By the time of their second album, 1989’s ‘Unfinished Business’, EPMD were firmly cemented in the rap stratosphere. With one certified classic album under their belts, they proved they were no one-hit wonders, with the sequel possibly even better. A concise 12 tracker once again produced by the artists themselves, it saw them adhering to the ‘if it ain’t broke, don’t fix it’ maxim, while going somewhat ‘bigger’.
In other words, guests started to appear – not just on the records, but in the videos – and marketing budgets were higher. None of which watered down their sound. In fact, this is the ultimate EPMD record: a beat that’s simple but perfect, and two top-of-their-game MC’s going back and forth. But the appearance of NWA in the video for ‘The Big Payback’ hints at their reputation at the time – and at the cordial relations between coasts before the deadly beef that was to come.

‘Payback’ takes both its title and core sample from James Brown’s ‘The Payback’ from 1973, and then weaves two more JB elements with it, including the addictive stabs from ‘Baby, Here I Come’. It’s a golden track from the golden age.

The B-side is another gem from the same album, and only released before on 7” in a very rare, limited pressing. ‘So Wat Cha Sayin’ was the album’s lead single, and shows EPMD’s wide sampling palette. There’s bits of BT Express, a whole lot of Funkadelic and, brilliantly, some drums lifted from Soul II Soul’s gem from just the year before, ‘Fairplay’. Lyrically, it’s just all about threats to sucker’s MC’s – what else do you want from EPMD?


• A certified Hip Hop classic.

• Samples James Brown’s ‘The Payback’ from 1973.

Indian Summer of Love finds The Bongolian immersed in a new set of sounds and influences for a new Belle Epoch. It’s a musical landscape informed by the Sixties psychedelia of India via a Haight Ashbury happening.

It’s a kaleidoscopic vision that takes us from a 20th century Fin de Siècle and lands us in the here and now of the 21st Century. It’s for dancers, for seekers and is all underscored by The Bongolian’s trademark heavy rhythms and breaks. It’s another fine instalment of essential cuts for the dancefloor and for high fidelity listening, quality is guaranteed.

From the East to the West, welcome to the Indian Summer of Love. Nasser Bouzida performs drums, percussion, guitars and keys whilst the album features several new flavours to the Bongolian sound with the prominent instrumentation of sitars and bansuri, along with flute, trumpet, saxophone and trombone performances from several stellular international guest musicians.

Rick Wade is one of Detroit and house music's most consistent performers. He is a master of crafting tools that never miss on the floor but also have the sort of character that means they endure across the ages and remain impervious to passing trends. Art Is The Place has his latest, and it opens with the angelic vocals of 'Level Up' over a whimsical groove, then 'Big Ha Blues' gets more deep and zoned out with pillowy pads and wet claps. 'Intrusive Emotions' has a more grinding low end but stays slow and is softened by jazz keys, then 'Bitter Sweet brings some dust and grit. Another faultless outing from Wade.

Otoboke Beaver return with a new album Super Champon
It follows the critically revered Itekoma Hits of 2019. Champon is a Japanese
noun meaning a mixture or jumble of things of different type. Recorded, mixed
and mastered by Ippei Suda in between lockdowns at Osaka's legendary LM
Studio.Across 18 songs, chief singer- songwriter Acco expands the band's
possibilities and pushes their musical skills to the limit. Acco has remarked
previously that she is more influenced by 'manzai', a traditional style of comedy in
Japanese culture comparable to double act comedy or stand- up comedy
exemplified by its use of slang puns and wordplay, speedy back- and- forth
dialogue and impeccable timing in delivering a punchline, characteristics of which
Otoboke Beaver's music shares in droves.

Perhaps you've chanced upon a Number Station, unwittingly as you scour the shortwave bands, and heard a cold, disconnected voice repeating simple commands endlessly into the ether. Or maybe you've scanned past a series of bleeps and pips, or pockets of noise, thinking nothing of them, as you seek a favoured music station. These are messages, to those who know how to receive them, and are able decode them in their various forms and configurations.

Shropshire Number Stations - Recordings of Covert Shortwave Radio Stations charts the covert shortwave radio stations broadcasting silently through the air around us, to aspirant agents in the fields of Shropshire, UK and the counties which surround it. These two continuous sides include recordings of 19 such lay-stations, captured by Eric Loveland Heath at various points over the last few years. The true nature of these amateur networks may never be known, nor might their cyphers ever be revealed. These are recordings of their activities, made conceivably for the sake of posterity alone, offering a glimpse into clandestine worlds otherwise obscured from view.

Tutti Pazzi Ltd returns with its second release, presenting a 6-track mini album by the extraordinary Makina Gigir. The French duo made their debut in 2007 on the legendary Das Drehmoment in Berlin, a cult label and record store for fans of the genre. Their influences draw clearly from italo-disco and new wave, with melancholic and nostalgic atmospheres running through each track, leaving a lasting impression. The mini album features a selection of tracks originally released between 2007 and 2010, now reissued in remastered form, taken from rare compilations and their debut EP.

Detroit's MotorCity Wine offers a uniquely histaminergic POV on dance music, doubling as a one-stop wine shop, record label and vinyl store, and in so doing highlighting a real economic reality: music often really does sound best when paired with powerful, sense-boggling beverages. Here they welcome local Eddie Logix for a thematic chuggers' chaiiwala, from the laggard and slap-happy homebrew 'Moonshine Mandala' to the background noisy, bustling B-side blear, 'Brooklyn Street Sunrise', which works street sounds and knowing urban chant-murmurs into a serious post-Afro stew.

Death Is Not The End's mixtape-style selection of clips from tapes recorded live at soundsystems playing during London's Notting Hill Carnival between 1984 and 1988, originally broadcast on NTS Radio in August 2018, is the latest to be committed to cassette as part of their 10th anniversary series. Featuring sounds from the likes of Jamdown Rockers, Saxon, Java Nuclear Power, Killerwatt Turbotronic, Stereograph, Sir Coxsone, Volcano Express and more.

Audio sourced with the indefatigable efforts of the Who Cork The Dance crew - big thanks going out to Jayman, Ruff House, Keimo, Omar, Gee Wizz and the one Jah Humble.

This album is not just a homage — it’s a gentle act of remembrance. A way of tuning in to what Lucier showed us: that listening is an art in itself. A meditation on resonance, memory, and the quiet power of pure sound. Or to quote Alvin Lucier himself: “I guess I’m trying to help people hold shells up to their ears, and listen to the ocean again.”

The influence of Alvin Lucier’s work on acoustic phenomena and the interplay between sound and space is difficult to overstate. His legacy continues to echo through the work of countless composers and sound artists today. Lucier’s music is marked by a sense of childlike wonder and sonic simplicity - shifting our perception from what we hear to how we listen.

At the heart of his compositions lies the sine wave: the purest, most elemental form of sound. Clarinetist Dries Tack pays tribute to this master of minimalism with an album centered around two works Lucier composed as intimate ‘In Memoriams’ for friends. Both pieces explore a single, elegant idea: the interaction between an instrumental tone and a sine wave.

Out of that interaction, ‘beatings’ emerge — a pulsating rhythm that accelerates or decelerates as the waves draw nearer or drift apart. Though built on the same concept, the two works are like mirrored reflections of one another: In Memoriam Jon Higgins, the sine wave glides in a slow glissando while the clarinet holds steady tones. In Memoriam Stuart Marshall, it’s the clarinet that dances around a fixed sine wave.

Dries Tack is a clarinetist specializing in contemporary performance practices. He performs with ensembles such as Nadar Ensemble, Curious Chamber Players, and Ensemble Fractales. As co-artistic director of the GLoW Collective, he explores collaborative practices across artistic disciplines in the broadest sense. In addition to his ensemble work, Dries curates solo projects that offer fresh perspectives on existing repertoire or give rise to entirely new works at the intersection of composition and improvisation.

Blazing onto ICONYC for its 21st release, Swiss sonic alchemist Shiffer makes a striking debut with the magnetic All I’ve Been EP. Celebrated for his emotional finesse and innate ability to connect with unexplored corners, Shiffer’s latest creation, including a lucious collaboration with Paul Brenning and capped off by Jonathan Kaspar’s trademark rework, is a tantalizing suite designed to echo in our timeless halls.

The journey begins with Shiffer & Paul Brenning’s opening manifesto, “All I’ve Been”, a track that unfurls with both confidence and caution, as if self-aware from its very first beat. Mechanical whirs and fractured frames give way to low-end swells that drive forward with an unrelenting undertow. Brenning’s unmistakable vocals start to break a warmer ground as they linger in the liminal space between today and tomorrow before slowly growing in gravitas. Suddenly, the piece begins to contort, drawing spellbinding figures as arresting arrangements and melodic flourishes allow for decompression. Imbued with a tantalizing breakdown that amplifies their exquisite use of negative space, “All I’ve Been” is a fascinating and intimate take that feels as expansive as it ever could.

The follow-up, “Urban Legends”, takes a bolder stance. Anchored by heavy drum programming that carves its place with deliberate force, the track is haunted by ghostlike vocal fragments that lend an unsettling, cinematic edge.. Out from the left field, Shiffer deploys undulating synthetics that intertwine with consummate ease as they glide under the spotlight. An alluring act that treads unhurried and unconcerned, “Urban Legends” operates at its own pace, far from the demands of a world lost in the metropolitan hustle, allowing us to bask in a lore of things that might or might never have happened.

Closing the release, ICONYC calls upon Cologne innovator Jonathan Kaspar, who delivers a singular reinterpretation of “All I’ve Been”. Immersed in iridescent textures, Kaspar layers lush, swelling pads over pulsing low frequencies, their ebb and flow punctured by flashes of distortion that spark like electric currents.. Reflective and equally immersive, Jonathan Kaspar’s take on “All I’ve Been” pushes the collaboration into a brash new terrain while retaining the spiritual ethos intact

The first volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

The second volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

Although it was only reissued last year, that sold out in quick time, so now it lands once more but as a nice coloured pressing of The Mighty Ryeders' delightful single 'Let There Be Peace.' An OG is a rare and pricey collector's item and for good reasons - its scorching funk with big horns and raw rhythms. The B-side features 'Evil Vibrations' by MURO aka King Of Diggin', famously sampled by De La Soul in their brilliant 'A Roller Skating Jam Named Saturdays.' It's another timeless sound that pairs funk and soul into something as likely to get big reactions now as ever, not least because of how silky the groove is.

Doc Pavlonium – Quattro EP marks the artist’s fourth release on La Sabbia and the label’s tenth overall. Blending electro, house, and techno influences, the record highlights the continuous evolution of his sound. Recorded entirely live and drawn from performances during the 2024/2025 season, the tracks capture the raw energy of Doc Pavlonium’s sets, translating the stage experience into an authentic and powerful listening journey.

** 1st TIME ON 45 + EXCLUSIVE B-SIDE! **

Most of you probably first heard about BAOBAB when they appeared on our PEACE CHANT compilation series (Vol.7).

BAOBAB was once described as "one of the most interesting rock-jazz groups on the Stuttgart scene". "Keine Nummer" was originally recorded and released in 1978. 44 years later the band came together in the studio to record an updated version which is exclusively available on this 45.

Limited to 333 hand-numbered copies!

A – Raise & Risk – The Itch

A tiny camel keyring tossed around on a contact mic and run through an ancient plate reverb makes up most of the percussions, odd ad-libs and wooshes in "The Itch". A 60 ton bass growl of mesozoic depth and some messed up hihats nicked from a previously discarded track round things off. Unfolds particularly well at high volume with ample Waterhouse-level low end.

B1 – Raise & Risk – Anthistamine
The initial minimalist groove of "Antihistamine" had already been in place for a while. But it was the log drums we added after a long night spent in a dark room surrounded by and partaking in mayhem that really tied it all together. Overall a moody and somewhat dissonant affair, the track breathes and oozes in unexpected ways, like we've never managed before.

B2 – Raise & Risk – Screwfix E17

Sirens wail, shouts compete for attention, a gnarly bassline tests your speakers and the drums switch between half- and doubletime 165 business. "Screwfix E17" is a rowdy loveletter to everyone's fav retailer of cheap tools and ambivalent service.

The Rhythm Vision — the Berlin-based trio of Francesco Passantino, Daniele Ricca, and Francesco Monaco — debuts on Tractorecords with Techno Ballad EP, a vibrant four-tracker blending analog depth with dancefloor functionality.

The A-side kicks off with "Techno Ballad", a hypnotic, emotional techno cut with deep pads and raw drums, followed by "Love Love", an uplifting jam that nods to the golden era of '90s club music while keeping it fresh and modern.

On A2, "Folleti" explores a groovy, warm house atmosphere, born from a spontaneous studio session with guest artist Dahbar — pure jam energy pressed to wax.

The B-side closes with "RADUNO", a bonus track from the now-classic Resilience Groove collective, offering deep rhythms and a rolling analog feel perfect for late-night transitions.

A versatile EP with character — bridging techno and house with soul, groove, and timeless analog aesthetics.

Barcelona-based DJ and producer Groenogen unveils a bold new EP that seamlessly blends house, electro, and deep house, delivering a collection as groovy as it is powerful. Opening with a razor-sharp DJ tool driven by punchy percussion and an electronic bassline, the release quickly expands into a colorful second track, nodding to the golden era of electro house, complete with a playful jazzy, cartoon-inspired break that flips the rhythm before surging back with full force. The third track turns up the intensity with a roaring bassline and a commanding female vocal designed to shake the dancefloor, while the EP closes on a deeper, more introspective note with Tom Cler’s remix, reimagining the energy of the original into a melancholic yet entrancing journey. Balancing groove, eccentricity, and raw dancefloor power, this release captures Groenogen’s forward-thinking yet nostalgic vision.

Die Jazz-Disruptoren Ebi Soda (Spotify Best Of Jazz UK 2024) verarbeiten auf ihrer neuesten LP "frank dean and andrew" das Chaos endloser Jam-Sessions in einem abgelegenen, gemieteten Bauernhaus. Das Album vertieft ihre punkige Herangehensweise an Jazz und eröffnet zugleich Raum für eine lang gehegte Faszination für elektronische Texturen und filmische Kuriositäten. Die Tracks konzentrieren sich auf Ambient und Hall, greifen aber auch auf Einflüsse von UK Dubstep (wie Zomby, Burial und Joe Armon-Jones' Zusammenarbeit mit Maxwell Owin) zurück, sowie auf den rauen, körnigen DIY-Mixtape-Sound (inspiriert von Künstlern wie Athletic Progression, Yameii Online und Playboi Carti). Ebi Soda spielten renommierte Festivals wie Gilles Petersons We Out Here, Jazz Re:freshed London, SXSW Austin und EFG London Jazz Festival. LP mit Poster samt Link zum gleichnamigen Dokufilm und einem Secret Track.

A bit of backstory behind this release, I first met Hilton (Jack Horner) at an event in 2012 that took place in a venue called Crucifix Lane (also known as Jack's, now defunct due to expansion of London Bridge station). He's good friends with Krome & Time who were performing that night and I remember chatting with him about jungle (I was still a very eager young lad that was in his first year of raving and very keen to talk about jungle/hardcore/d&b to anyone that would be willing to endure it!) and he mentioned that he used to make jungle in the 90s. I asked who he was and when he told me he was Jack Horner, I went mental because I was a big fan of the 2nd release on Spectrum Records (The Hoover & I Got This Feeling) and to actually meet the person behind those tunes was a really special situation for me to be in.

Unfortunately, I was too shy to get any contact details for him and I never saw him again or knew anyone that had a way of getting in touch with him. That was until very recently, when he had started attending Distant Planet events in London & I got the chance to meet him again, only to be shocked by him telling me that he had been following me & my music and was a fan of me & my label! This time, I made sure that I was able to get contact details for him, I was not going to make the same mistake as last time!

Last December, he messaged me asking if I would be up for doing a remix of The Hoover & I was quite unsure about doing it because of how much I really enjoy the original and feel like it does pretty much everything it needs to do with the sounds used. But, I thought it would be worth a try so I gave it a go and Hilton really liked the outcome (which was a huge relief ????), even though I was a bit too scared to change too much of it haha.

He then asked if I would be interested in releasing it on Future Retro London, which I'd never considered doing because I thought he would have had his own plans for it but I was willing to try & see if we could make a release out of this. I messaged Dwarde & Kid Lib to ask if they'd be up for doing remixes of the same tune (at the time, we only had access to the samples from The Hoover) and they both were and they did great work taking the original track in different directions, each in their own way.

Around the time of making The Hoover, Hilton made another tune with similar samples called After The Pain, which was never released, but he still had the tune. The problem is that he only had it in the form of a cassette recording, which wasn't very good quality and probably would not be easily cleaned up for release. So, I decided to remake the tune from scratch, using the samples I had from The Hoover, as well as sourcing & recreating other sounds used. I was able to remake the whole tune arrangement & then Kid Lib mixed it down to make it sound more sonically similar to how it would have sounded when it was originally made back in 94/95.

Anyway, story time over, big thanks to Hilton for his co-operation & assistance on making this release happen, to Dwarde & Kid Lib for their remix work & a special shout going out to Hughesee for going through Hilton's collection of floppy disks to find & record the samples for The Hoover.

Fetter’s Body of Noise erupts at the threshold between ravey hypnosis and avant-pop experiment, slithering through the hinterlands of unconscious desire. Nine shape-shifting tracks conjure haunted landscapes where beauty refuses clarity and dancefloor logic warps underfoot. Vocals swoon, drift, and demand—stacking into fragments that multiply and weave through saturated pulses and shimmering, snarling synths.

Opening track "Like a Rose" traces a dreamer’s transition into the unstable physics of a perplexing but familiar dream world, where they gradually become lucid. “Beast” follows up humming with shadowed urgency, threading a path through self-sabotage and metamorphosis. “Spathiphyllums” drifts a while in a lush lostness, aching for something new before fracturing into wild, cathartic collapse. Side B’s “Do I Exist? (D.I.E)” and “The Longing” spiral into existential wonder, searching for a human origin story—both personal and collective—against a backdrop of uncertainty, while “Headache” thrusts forward as an absurd and insistent manifesto to stay the course and harness one’s own power within the madness.

Body of Noise is crafted not only for sweating bodies in motion, but for distorting time and opening psychic portals, where surrender becomes strategy and uncertainty transforms into ecstatic navigation. Rooted in all-hardware improvised production and shaped by Fetter’s years of boundary-blurring visual and performance art, their debut LP feels alive and in flux. Reminiscent of a spectral pop chorus trapped in a loop of broken machinery, or a lost broadcast from a dancefloor in a parallel realm, Body of Noise is a journey into chaos, transformation, and a bold refusal to be contained.

About Fetter:
Fetter makes clubby self-destructing noise pop to dance and weep to. Oscillating between ethereal and pounding, their all-hardware, largely improvised live sets take listeners through a foggy wilderness of saturated rhythms and menacing synth lines, a golden voice guiding the way through. Fetter is the stage moniker of multimedia artist Jess Tucker. Their performances take place in clubs as well as galleries, often incorporating video, installation, and interactive performance art elements to create other-worldly surrounds of mesmerizingly unhinged bodies and faces.

A one-off 12” from New York’s early 80s boogie underground, Hustlin’ Time was the only single released under the name American Steel. Originally pressed in 1983 on the small but cult Silver Screen Records label, it’s become a rare find for collectors and a secret weapon for DJs in the know.

Built around a strutting bassline, tight drums, and soulful vocals, Hustlin’ Time captures the essence of the boogie sound at its peak, equal parts funk, disco and electro. The 12" delivers four distinct takes: the full vocal, a shorter edit, a stripped-back instrumental, and a Dub mix courtesy of Aldo Marin under his S.U.R.E. Shot alias. Marin would go on to become a fixture in NYC remix culture, and his early touch here brings a raw dancefloor edge.

A 140 gram pressing in 3mm spine black disco sleeve with labels and sticker designed by Bradley Pinkerton.

The occasion of possibility runs through Ben Bertrand's new album Relic Radiation. It is all backdrops and layers. Hints of the emotive and the distant. Confronting the classical with what is new, looking for an expressive space. Melancholy, not melancholy. Contemplation on a midnight blizzard. Dust motes in a sunbeam. Sand dunes and microwaves.

Ever since 2018 and the release of his first solo album, Ben Bertrand has been working up his own interpretation of the bass clarinet as an instrument of the avant-garde. Touching upon ambient and cosmic as well as earthy sceneries, his is a gentle musical paradox come to life. Let go of explicit pleasantries, Relic Radiation is the polymathic interpretation of a frozen intercom, of a subdued intent of contact. The music is competent and familiar, distant without being distant. There is no predefined form or context here. It is a different kind of colour.

As musical moments and modi become enormous, things break down into exploration. On the crystal shores of perception, Relic Radiation leaves a lot of space for interpretation. It is never loud, although it works loud. An at times almost sequenced feel to treated and overdubbed bass clarinet and clarinet notes adds to a feeling of paradox. Every voice, every gesture indicates a way in. The electron is now an immeasurable wave."

WEorUS has long been synonymous with forward-thinking electronic music, and their upcoming vinyl release further cements their reputation for sonic innovation. Featuring four distinct tracks from Anushka, Dragosh, Fabrizio Siano and Kaitaro, this record presents a nuanced exploration of groove, minimalism, and jazz-infused experimentation.
The release opens with Anushka’s “LVOE” a track that radiates warmth and rhythmic fluidity. Built upon a foundation of deep grooves and hypnotic layers, it embraces organic textures that evolve subtly throughout the arrangement. Expect an inviting bassline, shimmering synth work, and a rhythmic interplay that beckons dance floors into motion.
Dragosh delivers “Lampone” a groovy minimal cut that balances intricate percussive elements with a refined sense of space. There’s an air of elegance in the way this track unfolds—tight drum programming meets delicate sound design, resulting in an immersive experience that feels both intimate and expansive. A staple for selectors who appreciate understated yet compelling compositions.
Fabrizio Siano’s “What is Jazz” a contemporary minimal jazz experiment that defies conventional genre boundaries. Jazz-inflected chords weave through delicate electronic structures, resulting in a fusion that feels both nostalgic and futurist. A celebration of improvisation and groove, this track adds a sophisticated touch to the vinyl.
Dark, introspective, yet strangely hypnotic, Kaitaro’s “Nightmare” introduces a deep minimal aesthetic that veers toward atmospheric intensity. Layers build with eerie precision, each element strategically placed to create an evolving soundscape that feels cinematic yet firmly rooted in club dynamics. This is minimal at its finest—moody, unpredictable, and meticulously crafted.

Feel Fly, the alias of Perugia-based producer Daniele Tomassini — a visionary force in Italy’s electronic music scene and co-founder of Afro Templum — debuts on Taste Rec with his new EP.
Titled Festina Lente — an old Latin saying that means "make haste slowly" — this release invites listeners to surrender to dance, movement, and the flow of energy in a timeless space, untouched by the idea of an ending. A space that feels magical.
The EP is sincere and atmospheric, moving through the artist’s deep musical roots: progressive rhythms, cosmic moods, and a touch of lightness drawn from Italian dance culture.

The A-side opens with the title track: spacious arpeggios and dreamy textures create a soundscape that invites you to get lost in the music — a tribute to the carefree spirit of the ’90s.Techla follows with a more minimal, introspective vibe. Its hypnotic bassline feels like a journey into the unknown.
The B-side starts with Somo, a bright and catchy track full of sunny melodies and feel-good energy, evoking Italo disco moods. Finally, Flusso Libero closes the EP with elegance and depth. It features a unique vocal sample that stands out in Feel Fly’s style, tying everything together with a nod to ’90s nostalgia.
This is a musical story that blends sacred, dreamy visions with raw rhythmic sequences and warm, synthesized basslines.
A futuristic soundtrack for an ancient ritual.

When Radial Gaze meets Nicola Kubebe, the result is Iron Pinky Toad — a title that sounds either like a secret kung-fu move or a lost cartoon book. But don’t be fooled — this one hits hard.

The long-awaited collab brings three original tracks — Phantom Limb, Lights of Phoenix and the title cut Iron Pinky Toad — that effortlessly bridge the gap between slow-burning tribal techno and the raw pulse of new beat nested into an early techno nutshell. Imagine dancing barefoot in a ritual under a disco eclipse — you’re getting close.

To seal the record, Playground Records boss Martin Noise steps in alongside rising sensation Anastasia Zems, pushing the release into full-blown dancefloor sorcery. The groove is deep, the bass is sweaty, and the toad… well, the toad is on fire !

Dropping Friday, July 18, 2025, via THISBE Recordings — available on vinyl and digital. Spin it, stream it, or whisper its name into the smoke at 3AM — either way, the dancefloor won’t know what hit it.

Let the amphibian groove begin.

Artwork by Christoffer Budtz

2025 Repress

“In stark contrast to the stress-makingly staccato assault of your average 'ardcore rave, Telepathic Fish was a wombeldelic sound-and-light bath"

Simon Reynolds (Energy Flash: A Journey Through Rave Music And Dance Culture)

The first-ever illustrated compendium recounting the seminal underground South London ambient party that surfaced at the axis through which the likes of Ninja Tune, Warp and Rising High flowed. Telepathic Fish shared fertile waters with Megatripolis and The Big Chill, moving the early 90s London back room chill-out space into the kaleidoscopic spotlight.

Documenting the sights and sounds of South London’s seminal Telepathic Fish ambient parties. Hosted by Chantal Passamonte (aka Mira Calix - RIP), David Vallade, Mario Aguera and Kevin Foakes (aka DJ Food) - collectively named Openmind. With the help of Mixmaster Morris (The Irresistible Force) and Matt Black (Coldcut), they put on some of the earliest chill out events in London.

Rooted deep in the heart of the electronic underground they started DJing and decorating house parties or squats with mind-blowing installations and wholly idiosyncratic design, hosting the likes of Aphex Twin, Andrea Parker and Tony Morley (The Leaf Label). Within a year they were playing VIP after shows for the likes of Orbital and illegal New Year’s gatherings at the disused Roundhouse whilst guesting on Coldcut’s Solid Steel radio show on London’s KISS FM.

Whilst collaborations with legendary club nights such as Megatripolis saw them share bills with Autechre, Higher Intelligence Agency, Scanner and Global Communication, they also created their own ambient fanzine - Mindfood – to document the scene evolving around them. A 20-page history of their parties is included in the release, richly illustrated with personal photos, artwork and memorabilia from their adventures between 1992-95. The gatefold sleeve also features their Telepathic Fish logo, mirroring an original T-shirt design they sold in Ambient Soho, a record shop three of the four worked in at different times.

The selections featured here are all personal favourites that were played at the Telepathic Fish parties during the 90s. Picked and arranged by Mario, David and Kevin who combed their collections for key pieces they associate with the time and Chantal’s music tastes. Over a hundred tracks were selected, totalling nearly 11 hours of playing time, before being whittled down to the essentials by the trio, forming a snapshot of their world back in the day.

KEY POINTS:

* Features long deleted and hard to find tracks by Caustic Window (Richard D. James aka Aphex Twin), Tranquility Bass, Spacetime Continuum and Global Communication (Mark Pritchard and Tom Middleton).

• Pressed on DJ friendly double black vinyl

• Includes A 20-page history of their parties is included in the release, richly illustrated with unseen personal photos, artwork and memorabilia from the Telepathic Fish crew’s adventures between 1992-95, as well as detailed liner notes courtesy of founding members Mario Ageura and Kevin Foakes.

• Cover includes horizontal obi sticker with quote from Simon Reynolds' book Energy Flash: A Journey Through Rave Music And Dance Culture, describing the Telepathic Fish parties' place in the dance music landscape.

• Lacquer cut by Beau Thomas at Ten Eight Seven Mastering

Words courtesy of FOND/SOUND –

What makes チトチック/クラクラ (CHITOTIHC/KULA-kura) so fascinating is that, in some weird way, it’s a meeting of minds and musical language of disparate artists at the forefront of a new kind of groove. There might be no “L” in the Japanese language but that doesn’t stop it from trying to find a working substitute. Similarly, Chito enlisted members from his Asiabeat and East Pulse, others from Mu-Project, K2, and Adi, and brought in Haruomi Hosono to play mercurial bass. In the great expanse of experimental Japanese-made pop music all of them might have gone in “out-there” in separate directions but on this record it was Chito who pointed their focus all on the same track.

“Bayou (バイヨー)” presents this floating idea of dance music with beats and rhythms that hover among the ethereal. Other like “Scribble Dance (らくがき)” use Harry’s acid bass lines to dig cavernous grooves that only come up for air via adrenaline-fueled jumps by Haruo Kubota’s quite Adrian Belew-esque guitar lines. Perhaps, Discipline-era King Crimson is an apt comparison to what Chito and his crew pull off here.

Where Discipline signaled a way to reconcile the most out-there polymeter music of prog with the more satisfying parts of post-punk and the new electronic wave, so to do I think チトチック/クラクラ (CHITOTIHC/KULA-kura) has that bit of heart/spirit in mind. This is the out-there of Japanese experimental music satisfying the best parts of the, then, new electronic wave. It takes a certain degree of proficiency and sheer chutzpah to go from “11” to the wonderfully impressionistic, ambient minimalism of a track like “Sanghyang (サンヤン)”.

It’s the joy of not knowing what each new track will hold and just letting yourself follow the hard-working hands of such learned musicians that brings the most out of Chito’s vision. It’s this very liquid music that keeps you on your toes on tracks like “Astral Lamp (無影灯)”. Tracks like “Jagg-chagg (ジャグチャグ)” and “Filament (フィラメント)” present a fourth world music bifurcated in exponential parts by the glitch of newer, modern, electronic modalities, intersected by expressions by differing voices. Every track you switch to presents a new way to get lost in the many phases and places Chito wants you to travel to.

In the end, as always, it’s not the destination but the journey through it that plants this album in your memory. – Diego Olivas

The electronic music producer returns to his songwriting roots with a kaleidoscopic new album, featuring collaborations across genres and generations

Two massive 80’s icons get the secret edit treatment from a mysterious but familiar hand.

Tested and proven on dancefloors across the globe, these weapons have been destroying clubs in the hands of those lucky enough to have them.

Originally released only on CD in 1995 and long out of print, Scraping Tokyo ’95 captures the raw, visceral energy of Belgian industrial legend Dive during a powerful live performance in Tokyo. This intense set features a selection of classic Dive tracks alongside three cover versions by Joy Division, Suicide and The Klinik—all reimagined in Dive’s signature minimalist and abrasive style.

Available for the first time on vinyl, this limited edition of 350 copies is pressed on white vinyl and comes packaged with an insert featuring archival photos and Japanese-style OBI strip.

Two of Australia’s own legends Dr Packer & Yogi deliver an instant classic with ‘Heavy Vibes’. Reworking the disco track by the Montana Sextet aka Vince Montana Jr. who was primarily known for founding Salsoul Orchestra and his work with the MFSB and their track ‘Love Is The Message’, heard throughout ‘Heavy Vibes’.

David Penn & KPD join legend Kurtis Mantronik for a 2025 update of Kurtis’ 2011 release ‘Get Down’, sampling Brick’s 1977 disco record ‘Ain’t Gonna Hurt Nobody’.

COWBOY FAMILY kicks off their new edit series, MEAT HOPE., with its first installment: a long-circulated club weapon finally making its way to vinyl. Already spun across countless dancefloors, this much-requested cut now sees the light of day as an official release.

Crafted under aliases by members of the COWBOY FAMILY crew, these edits reflect a playful, subversive spirit—familiar, yet twisted just enough to make them irresistible on the floor.

Stuff a banana in the muffler of a Beverly Hills cop car and head out to grab this vinyl—once it’s on your decks, you’ll be “easily” lighting up dancefloors everywhere.

Vinyl only.

Simon Popp is back on Squama with his fourth album Trio.
At its heart, Trio is a work about collaboration, playfulness and unification. It is music as a means of coming together, a sonic equivalent to the Japanese philosophy of Kintsugi, in which broken ceramics are repaired with a visible golden lacquer. Rather than hiding the breaks, Kintsugi embraces them, making them part of the story, a form of delicate transformation. Popp and his collaborators Flurin Mück and Sebastian Wolfgruber take a similar approach: three distinct drummers, three different temperaments, three personal styles. Fused together into a single expressive instrument.
The album is a celebration of timbre, texture, and touch, its sound palette drawn from across continents and traditions. Human beings at all points of time, across all cultures and continents have used music to celebrate, mourn, worship and bond. Along with our voices, creating rhythm with our bodies. Clapping, stomping, hitting with sticks. A celebration of rhythm as both a shared human memory and an audible expression of close bonds.
Trio is a reflection of the beauty of imperfection and the timeless pull of rhythm as a shared human force. The cracks are not hidden. They are filled with gold.

Burnin Music is proud to present part 2 of label head Pegasvs’ ‘In Search Of’ trilogy of releases, in which the producer continues his exploration of dance floor soundscapes via inventive, incisive and emotive house-laden cuts.

Romain has been a key innovator in the Hong Kong & Asian music scene for the past 18 years in various different facets, building bridges between cultures and erasing borders through music. He has since taken a step into the world of production and his music has been played by some of the biggest acts in the game such as DJ Harvey, The Black Madonna, Gerd Janson, Horse Meat Disco, Skatebärd, Lauer, Tornado Wallace, Lipelis, Orpheu The Wizard, Kamma & Masalo and many more. Here his musical production story continues with his latest collection of works coming via the esteemed Tokyo imprint, Sound Of Vast.

Leading the release is title-cut ‘Musique De Maison’, a five-minute excursion through organic percussion grooves, snaking elongated bass tones, intricately intertwined vintage-leaning synth melodies and an overall cosmic disco aesthetic that reflects Romain’s borderless, cross-cultural sound. ‘Tonal Spices’ follows and ups the energy levels with a sturdy rhythm section, squelchy acid licks, murky bass stabs, Indian vocals and cinematic strings ebbing and flowing throughout.

Monkey Timers take on ‘Musique De Maison’ next with their interpretation extracting the core essence of the original and reshaping it into a dynamically unfurling rework, fusing fragments of the original with expansive delays, heavy reverberations and modulating synth work. The ‘Psych-O-Delic (Live Mix)’ then concludes the release with off-kilter drums running in combination with, as the name would suggest, tripped-out melodies, processed spoken word and warbling synth licks — a nod to Romain’s playful, surrealist edge.

JP
東京とアムステルダムを股にかけながら、The People In FogやRed Pig Flower、GǼG (Monkey Timers & Keita Sano) 等のリリースを手掛け、オルタナティヴなディスコ/ハウス・レーベルとして存在感を放つSound Of Vast。その最新作は、Romain FXの12インチ！

フランスで生まれ香港/台湾/アメリカで育ったRomain FXはプロデューサーとしてのデビュー以降、自身が主宰するFauve Recordsや禁 JIN、Black Jukebox等で、イタロ・ディスコやプロト・ハウス、アジア産音源等を現代的に昇華したサウンドを展開。特に2024年にSound Metaphors Recordsの傘下から発表したイタロ・ディスコ金字塔"Spacer Woman"のカヴァーは、DJ HarveyやOrpheu the Wizardらのアーリープレイによってディガーたちに衝撃をもたらすと同時に、Romain FXの評価を確固たるものとした。

本作には、溌剌としたシンセの掛け合いにラテン・パーカッションが並走しドリーミーなクライマックスに向かうプロト・ハウス"Musique De Maison"、アフロ/コズミック影響下の初期プログレッシヴ・ハウスが現代のピークタイムとシンクロした"Tonal Spices"、バイレファンキやエレクトロ・ファンクの化合物がバッドトリップ直前まで交錯する"Psych-O-Delic (Live Mix)"といった3つのオリジナル曲を収録。更に今回は、ユニットGǼGとしての怪作を経てPanorama BarをはじめとしたEUツアーを敢行した日本人デュオ、Monkey Timersによる"Musique De Maison"のリミックスも搭載。Droid作品を彷彿とさせるFX処理やグルーヴ脱構築の技法により、本EPにダークな一面を持たせた。

本作に収録されたいずれの楽曲も、Romain FXが辿ってきた陽性のエネルギー溢れる遍歴と練磨されたスタジオ・スキル、現代のダンスフロアのムードが交差しオリジナリティの獲得を目指す、インパクト溢れる仕上がりとなった。近頃はライヴアクトとしても成長を遂げるRomain FXが如何にクラウドを熱狂に陥れているか、想像に難くないであろう。

The new Mono Jazz series - The Jazz Sinners - is designed, crafted and produced to the highest standards allowed by today’s music industry.
The tracks featured come from either rare, top-condition vintage first pressings or from meticulously sourced recordings to ensure the
best possible sound quality. Thanks to the expertise of Giorgio Cencetti (DJ Farrapo), we've created a fully organic mastering process that offers a
360° sound spectrumfor a truly high-fidelity listening experience. The vinyl itself is pressed under the supervision of Elettroformati - Milano.

The cover is 100% Italian-made, using premium 350g cardstock with a luxurious hand feel, with inner sleeves lined in polyliner for complete protection of the record.

The electronic music producer returns to his songwriting roots with a kaleidoscopic new album, featuring collaborations across genres and generations

To celebrate their 5th anniversary Berlin's Pure Hate Trax brings you 5 Years Remixed Pt.1, inviting Tripped, Mickey Nox, Laven & NX1 to remix their favourite tracks from the last 5yrs.

After Brummel 001, the baddest boys from Roffa town strike back with Brummel 002. This time, it's an EP from Nathan Homan that delves deeper into the sonic forest than the previous release. On the flip, you'll find a track made by Nathan Homan and Mathijs Smit over six years ago. Some say Nathan bought a 303 and went straight to Mathijs' place with the machine in hand. The afternoon passed, and Apoih was born.

The next vinyl release for October is a rarity from our catalog! "LIVING
IN THE SKY" by the artist GRECOS!

This vinyl was not pressed since 1984 and today it returns to record
stores for fans of the Italo Disco genre.

This release is the real sound of the 80s!

AnalyticTrail unveils the first chapter of its new series with Gems 0.1, a carefully curated snapshot of where the label's techno heart is today. Conceived by Markantonio and rooted in the Neapolitan school of groove, this collection focuses on functional power, hypnotic motion, and forward momentum across seven cuts split between vinyl and digital. On wax, the journey opens with Human Safari's Trap Door, mixing tight percussion with jazzy melodic touches. Lysander continues with Riot in Rio, bringing tribal rhythms and rolling basslines that push the dancefloor. KLBR's Thunder Drums hits hard with analog weight and crisp drums, while SYNDROM's Nikaia Nightfall closes the side with deep, hypnotic grooves and cinematic textures. The digital edition adds three more highlights: The Groove Room's Bloom delivers a dubby, pulsing journey; Cri Du Coeur's Safre builds raw warehouse tension with powerful hits and Omis (Italy) Collapse drives a stripped-back, high-intensity groove perfect for peak-time sets. With Gems 0.1, AnalyticTrail shows its formula in action: rooted in groove, focused on the dancefloor, and always looking toward the future.

Stepping forward with 'Owebimataeto', the new four-track EP by Colombian producer Zemog. Drawing influences from the Sikuani language and the traditions of the Guahibo people, the EP channels a raw, propulsive energy anchored in its ancestral references.
'Alai' sets the tone with a driving bassline and metallic overtones, punctuated by fluid, organic sounds that twist through shifting layers of rhythm and resonance. 'Biaba' follows with a tribal current of dense, interlocking patterns within a steadily unfolding pulse. The momentum bends sideways with 'Beaxayo', a half- time whirlwind of swirling patterns and psychedelic pull, before 'Wako' sinks into a slow, sludgy finale.
'Owebimataeto' stands as a statement of Zemog's approach to techno- immersive, bold, and steeped in Colombia's indigenous world, transforming ancient cadence into something unmistakably alive.

Break 4 Love, the timeless 1988 deep house anthem from Vaughan Mason’s Raze, featuring Keith Thompson’s soulful vocals was not only #1 US Dance Club hit and UK Top 30 single but an evergreen classic that remains a club culture staple 37 years on since its initial release. Its warm TR-909 groove, hypnotic bassline, and intimate lyrics continue to resonate across generations.

Alongside the original mix, this brand-new release from Armada Music & Champion serves up three essential remixes on one 12” vinyl. IIija Rudman kicks things off, preserving the sensual beating heart of Raze's iconic original while sliding effortlessly into the dancefloor rotations of today. Veteran of the scene Michael Gray puts his signature touch on ‘Break 4 Love’ adding extra percussive elements and sensuous sound effects. Through this Gray stays true to the original whilst providing a fresh take on the ’88 classic. Finally, Ridney & Inner Spirit’s take, slotting into those perfect sunset DJ sets on Ibiza with rolling beats and unfolding soundscapes. All bases covered on this buy or cry vinyl!

After countless hours in the studio, we are proud to present EZ PC, a sonic journey infused with elements of funk, jazz and abstract soundscapes.
The record features the legendary Samuel Appapoulay, whose versatile musicianship adds depth and character throughout the project. This release also marks one of the first projects to showcase the collaboration between David and the Mauritian-born pianist.

To complete the experience, Tripmastaz delivers a remix that holds its own alongside the original, an absolute masterpiece that lifts the EP to an entirely new level.

Buckle up and enjoy the ride!

Eden Burns releasing his debut Album titled „Eden Burns & The Makebelievers“. The dance musics prophet, notorious for his ingenious string of club tracks (if you don’t follow —> check the „Big Beat Manifesto“), is gifting the world with yet another, cult creating musical
adventure. Ecstatic beats, melodies that cast a spell on you, if there ever was something to truly, blindly believe in: it’s the power of music? Be Free, set foot into the garden of Eden. All apples are to be bitten, the snakes venom is mildly hallucinogenic. Get your eyes opened for everything that is true enough and beyond. Bless.

Hailing from Detroit, Ryan has earned great respect over the years as a deej with a deeeeeeep
bag of records. This EP is a perfect reflection of that ethos - with tracks that will have you
covered no matter what time of night you're dropping the needle on this thing.

The A is heavyweight, peak time, disc jock business. Sarah O leads vocals to the A1, woozy,
dubbed out, blissy joy ride that is the club mix of "Between Dreams." It would sound at home on
all your favorite dancefloors, but especially those outside. The Great Outdoors baby: the biggest
room there is!

Next comes the mighty Acid Mix of the title track. Cop now so you won't HAVE to Shazam it the
next time you're hearing Mike Servito or Josh Cheon DJ!!! And the A side is wrapped up by 24
Hour House Music. A jittery proto house work out perfect for a night drive in YOUR city!!!
The B side gives us a more of a downtempo vibe, perfect for life's breeziest occasions. LA
legend Benedek lends his considerable talents to all 3 tracks, while Steven Grady and Noah
Triplett for the EP's final track - "Love Dub." All reminscient of Ryan's work as part of Symptoms
of Love, this side feels more like you're in a dream than between them.

Fatboy Slim & Daniel Steinberg join forces with a plethora of producers on the Bus Stop Please remixes. The package is one for all shapes and sizes - from the world renowned hit-maker David Guetta, through to UK underground royalty Sally C, Scotlands deep house finest Hayley Zalassi, and enigmatic French trio PPJ.

After releases on both Echocentric and R.A.N.D. Dj Life joins thecollaborative label for their fifth outing, tech and progressive house made for the dancefloor.

ZYX Italo Disco New Generation – Limited 5LP Box

Ein echtes Sammlerstück für alle Italo Disco Fans!

Diese streng limitierte 5 LP Box vereint gleich fünf Alben aus der erfolgreichen „ZYX Italo Disco New Generation Vinyl Serie“ – erstmals als exklusives Box-Set erhältlich. Auf insgesamt 5 hochwertigen Vinyl erwartet dich eine einmalige Zusammenstellung von Klassikern und modernen Hymnen im typischen Italo-Disco-Sound, der weltweit Fans begeistert. Tauche ein in die Welt des Italo Disco – mit dieser Box sicherst du dir ein Stück Musikgeschichte zum unschlagbaren Preis!

dxrvo, hailing from Hannover, Germany, has made a name for himself in the electronic music scene by creating hypnotic, minimalist, and atmospheric techno sets. His music takes the dance floor on a captivating journey, characterized by driving beats, rhythmic basslines and repetitive sounds. With performances at renowned venues such as Tresor Berlin, PAL Hamburg, Doka Amsterdam, Watergate Berlin, and Terminal Lyon, he showcases his presence in theinternational techno landscape. As a founder of the Kollektiv Synergie, dxrvo is committed to inclusive events and the promotion of diverse artists. His production skills are evidenced by successful releases on labels like SYXT, Room Trax, Modern Minimal, and NYXII. More than just a DJ, dxrvo is an architect of sonic experiences, continuously redefining the boundaries of electronic music.


Linear Phase
With a two-decade career in music production, Carlos, better known as Linear Phase, has become an established artist in the global techno scene. His eclectic sound proposal, ranging from ambient / drone, through minimal / deep / hypnotic, to raw techno, has earned him the recognition of both critics and the public. His prolific career is reflected in the more than 50 releases under his belt in the last 5 years on several internationally renowned labels such as Molecular, Planet Rhythm, Newrhytmic, Drumcode LTD or Edit Select, to name a few, thus consolidating his presence in the global scene. His 5 years of experience in the world of modular eurorack has allowed him to develop a unique and personal sound, characterized by its depth, textures and enveloping atmospheres. In addition to his role as a producer, Linear Phase is co-creator of the Barcelona Modular Society, a space dedicated to the exploration and dissemination of experimental electronic music. Linear Phase is currently developing the creation of both its own label and its new studio, which will become a creative hub oriented to host all kinds of activities related to techno production. This space will feature the participation of renowned national and international producers, consolidating his commitment to the scene and his vision for the future.

Innmenal
Innmenal is a DJ and producer from Pinamar, Argentina. Resident from FAS Producciones he focuses into hypnotic sounds and chaotic rhythms. He has been playing across the Argentinian coastline spreading his sounds characteristics. With continous work and dedication Innmenal's tracks can be found in labels such as Concepto Hipnotico, Apical Records and Diffuse Reality. His first album called Metatron's Cube was released this year on the Diffuse Reality's Label. Another album is planned over this year along other releases on other labels. His last track Winds Of change was released on the label Modern Minimal with some support coming from Rødhad, Svreca, Developer, Richie Hawtin, Slam, Justine Perry, Arnaud Le Texier, Distant Echoes, Dax J, Hugo Rolan and more. He has shared the decks with Mariano DC doing warm up during last year. With more than 10 years behind the decks he's still digging into the deep hypnotic sounds with some agressive percussions to give the listener a journey through his cosmic sounds. So far Innmenal has been active in various labels like Diffuse Reality, Modern Minimal, KPLR, Space Travel, Rowan Underground and Habitat Musical.

Qaypz
Qaypz is a DJ and producer hailing from Arlon, Belgium. As a child of the 90s dance music era, his journey into electronic music began in 2000, ignited by his first I Love Techno Festival experience in Belgium and the underground rave scene that was thriving in his hometown Liège, where Jungle and D'n'B from UK were dominating. This era made Qaypz start mixing on turntables and embracing vinyl culture in 2003. Today, he's versatile, seamlessly transitioning between turntables, CDJs and DAW-based setups, incorporating hardware and controllers for a hybrid mix performance style. In his early years, he organized local rave parties and later moved to Eupen, the capital of East Belgium, where he founded the collective Krank'm'Haus. Qaypz's passion for underground sounds is evident in his productions. He crafts dark, industrial tracks characterized by powerful kicks, somber melodies and a driving rhythm. His performances have graced notable locations such as The Ground Club in Luxembourg, The Liquid Club in Malta and The Kulturzentrum Alterschlachthof in Eupen as well as underground events like La Nature, Eupen Musik Marathon Festivals in East Belgium and the Rummelstilzchen’s illegal rave party in Berlin-Rummelsburg just before the building demolition the day after. Qaypz is currently focusing on his label development and continue producing and mainly releasing his music on Krank'm'Haus Records.

"It's been exactly 40 years since “OCEAN OF CRIME” was released.

It seems like yesterday when Claudio Causin, the guitarist of STAGE,
brought me the music without the lyrics.

As soon as I heard the song I thought of an apocalyptic scene after a
nuclear war.

The lyrics came out suddenly, without any second thoughts.

The words fit the music perfectly.

It wasn't a dance-song but a mix of rock dance.

After all these years it still has an extraordinary charge .

And now the “Dreaming” album is finally ready with all the tracks we
recorded through the “FullTime” years.

Good listening to all."

Franco Masala (STAGE’s singer and songwriter)

With a multi-decade spanning back catalogue behind him, Bearface aka Raj Panasa shows no signs of slowing down. Over the years he has built a sturdy reputation around his distinct and innovative feel-good touch whether that be on his own Beartone Records, or the many other labels he has shared his classy sound with.

“Remakes and Raw Cuts Vol. 1” is the launch of a new vinyl series from the London-based producer, a safe place for him to showcase his eclectic sound, alongside edits and remakes of some of his favourites over the years, all finding a home on his Beartone label.

Starting off on the A side Bearface provides a funk fuelled latin explosion with his version of the classic “Tudo Que Você Podia Ser”, sassy disco attitude ready for the summer months, presenting some unforgivable dance floor mania. The A2 “Got To Be” is an original cut, meandering between playful guitar licks, and stripped back, hypnotic percussion, there is a curious atmosphere as the track continues to simmer.

On the flip side an edit from the revered beatmaker. First up he edits “Tell Me I’m Not Dreamin’” by Jermaine Jackson, the infectious vocal injects a zesty life into a killer electro groove, a playful and animated trip ready to rock the floor! Closing out the EP is the retro sounding “Everything”, the robotic vocal flashes in and out, nodding towards Daft Punk, boasting beautiful strings and crispy hi-hats bringing that day time energy.

Bearface teasing those summer moments with a jam packed EP brimming with sunshine and positivity, dive in and feel the fun!

It probably won't be a shock to many to find out that I am a massive fan of Soeneido & his music. His style varies between the ruff, the darkside, the mellow, the militant style, he can really nail so many different flavours of jungle & hardcore and I've been playing his music a lot in my DJ sets.

Earlier this year, completely out of the blue, he sent me a folder of like 15+ tracks he had done & I knew that there was going to be some heavy hitters in there. Surprisingly, there were more than enough tunes in there to compile a solo release on Future Retro London and it took me some time to work out which ones I wanted to have but I'm very happy with the end result that we were able to narrow it down to. I've been hammering these 4 tracks in my DJ sets, especially No Turning Back & Dark City, which may be my most played tracks for this year, so I'm glad to be able to have these out now, for everyone else to enjoy.

Big thanks to Soen for his fantastic tunes & to Stekker for his work on the a-side artwork.

Following up a string of releases on labels such as Mana, Sun Ark, Orange Milk Records and Abyss, Other People are honoured to present the new album Fobia by Argentinian musician and sound artist aylu, real name Ailin Grad. Inspired in part of Grad's many collaborative projects over the last few years, Fobia sees her collecting and rearranging the music and sounds fostered within these to create an intimate, spiritually charged album that turns personal struggle into collective resistance and resilience. What initially started as a way for Grad to process her own experiences with agora- and claustrophobia, and an attempt to navigate feelings of shame and a perceived demand to keep these feelings bottled up and hidden from the world, she began to realise how mental health struggles are not isolated incidents but part of broader systems of collective suffering and injustice. “It took a long time for me to discover that my issues were part of a system that produces these kinds of symptoms and that it takes a lot of courage to find a way around them. I have the feeling that more and more people suffer from these kind of things in some way or another, and what was at first taught as something you should be silent about and keep private, I discovered that the more you talk about it and share it with people you trust, the more you realise that it’s part of something much bigger.” This tension and constant pull between fear and joy, light and dark, is present throughout the album. From the strained breathing featured in opening track Yodo echoing the suffocating feeling from claustrophobia interspersed with the lighter textures of Obelisco Elysium and Prospero offering up a sense of relief, to the almost cacophonous, immersive soundscapes of El Sol Mal, mirroring the complex, often contradictory emotions when navigating mental health challenges. Fobia invites listeners to move through pain with honesty, finding strength in shared experiences.

Mark your calendar for February 14, 2025—CLUB U NITE RECORDS drops 'A Box of Goodies – Rare Edition'!

This EP delivers four rare gems straight from the 90s house vaults:

'The Nite' (1997) kicks things off with a deep house organ, disco vocal bits, and a deep deep bassline.
'End of Luv' (1999) takes you deeper, blending straight beats with melancholic vibes - perfect for sunset beaches or as closing track.
'Stompin’ Pumpin’' (1996) gets jazzy and funky with an addictive Rhodes loop that won’t quit. So good!
'I’m the One' (1996) nails it with a raw Chicago swing, fat minimal grooves, and a dope jazz-piano sample.

Four 90s killer tracks, three making their vinyl debut - get it before it’s gone!

Soulwax 's first new album in 8 years, entitled "All Systems Are Lying" and set for October 17th release. Available on CD & various 2LP fromats . The campaign will kick off July 9th with a double single “All Systems Are Lying / Run Free”, album announcement + pre-order launch. Since 1995, David and Stephen Dewaele have consistently pushed the boundaries of music into new and innovative territory by diversifying into many different guises. They are a band (Soulwax), djs (2manydjs), a record label (DEEWEE) and a sound system (Despacio, created along with James Murphy from LCD Soundsystem).

They are also widely renowned as one of the most innovative remix and producer teams around. They have released 7 studio albums to date, including the critically acclaimed ‘Any Minute Now’ and ‘Nite Versions’. Some of their already cult remix credits include the Grammy nominated “Work It” by Marie Davidson, as well as Peggy Gou, Fontaines DC, Roisin Murphy, Robyn, Arcade Fire, The Rolling Stones, Tame Impala, Metronomy, Daft Punk, The Gossip, Hot Chip, MGMT and Warpaint, among many others.

Stephen and David Dewaele are familiar to millions as 2manydjs, a project which undoubtedly moved the needle for modern DJing. Alongside like-minded allies such as Erol Alkan, Tiga and Jacques lu Cont, 2manydjs swept international dancefloors into delirium, gifting a rock ‘n roll attitude to club culture.

Krewcial returns with more MJ from the vaults. Mixed from the original multi-tracks, always with love and respect for the original material.

The A side kicks off with The Jacksons 'Everybody' but feels and sounds like a solo Michael joint and references his “Get On The Floor” in the lyrics. The extended version gives plenty of room to all instruments to build up and join before MJ comes in.

On the flip we have the seminal 'Can’t Help It', written by Stevie Wonder and sampled by DeLaSoul combines the instrumentation and energetic drums from the demo version with the lead vocal from the album version. Adding a lush string arrangement which takes this version into TSOP territory and adds the disco vibe that works on today’s dancefloors.

Limited Vinyl Only Release act fast!

TJM’s Small Circle of Friends is considered one of the masterpieces of the Golden Era of Disco. Moplen takes TJM’s Small Circle of Friends and stretches it into a deep, hypnotic disco odyssey. Built on a chunky, vinyl-warm groove, the remix layers hi-hats, funk-soaked bass, and crisp claps over lush, orchestral strings and soulful vocal refrains.

Moplen’s trademark touch is all over this one, extended breakdowns, patient builds, and EQ sweeps that make the dancefloor hang on every bar. It’s the kind of track that keeps the energy grooving and sophisticated. A timeless, vinyl-ready rework for true disco connoisseurs.

Following the debut album Only Skies Stay Eternal, the Remixes EP takes a bold step forward. These reinterpretations reshape Fille’s introspective sound into more club-oriented territories, signalling a new phase in her sonic evolution.

Rico Casazza opens the release with a standout electro remix - fluid rhythms, a wavy bassline, and catchy vocal hooks push Fille’s sound into elevated, high-energy territory. Alienata follows with a deep, broken-beat techno version that’s both shadowy and hypnotic, crafted for dark rooms and powerful systems.

Sestrica delivers a rolling breakbeat interpretation with a pulsing low end - engineered to move peak-time floors with force and precision. Closing the release, Clouzer’s remix of Thistles blends dreamy textures, trancy momentum, and broken rhythms, adding emotional depth to the club experience.

Slow Motion Records founder Franz Scala announces the infectious, ground-moving LP 'Cafe Futuro', a follow-up to his highly acclaimed debut ‘Mondo Della Notte’. Homage to the influential Neukolln bar and meeting point for Italo and Cosmic disco heads, 'Cafe Futuro' builds upon a bold and innovative sound, showcasing fellow creators and genre-defining artists, solidifying the Italo Aficionados sound, synonymous with the pioneering greats.

Slow Motion Records founder Franz Scala announces the infectious, ground-moving LP 'Cafe Futuro', a follow-up to his highly acclaimed debut ‘Mondo Della Notte’. Homage to the influential Neukolln bar and meeting point for Italo and Cosmic disco heads, 'Cafe Futuro' builds upon a bold and innovative sound, showcasing fellow creators and genre-defining artists, solidifying the Italo Aficionados sound, synonymous with the pioneering greats.

Let us introduce to you the third volume of the brand new series
"OBSCURE TRACKS", made of essential, stand-out and rare italo and
electro tracks, remastered and repress on vinyl for the first time ever
offering DJs the chance to get hold of suche as gems previously tucked
away in the Mr. Disc Organization back to catalogue.

CLUBREMIX005 has landed ! The physical release of “Wuhuhuu” and “One Balloon”, featuring two standout remixes by none other than The Trip and BELLA.
The Trip injects their signature stripped-back effectiveness into “Wuhuhuu,” breathing new life into the track with a dubby yet bouncy bassline that just locks you in.
BELLA reimagines “One Balloon,” delivering a late-night groovy tool, with her recognisable touch, she captures the essences of the 90s, radiating nostalgia and dancefloor energy.

Celestial Echo is here with one of the all time holy grail soul double siders. When we tell you a record will never leave your bag after buying it, this is exactly the record it applies to.

Originally released in 1970 and written, produced and arranged by the great Van McCoy, Washington D.C.’s Bobby Reed stepped up and delivered “The Time Is Right For Love” an incredible loved up stepper, and then “If I Don’t Love You”, a perfect compliment, another… loved up stepper.

This one isn’t a fresh find, or a new discovery - Just an essential, officially licensed reissue of an incredible slice of soul.

After the warm reception of its first VA release, Phosphor is back with a new chapter: darker, more mysterious, and with a solid line-up of artists. The A-side sets the tone with two club-focused tracks made to move the floor, while the B-side drifts into a more hypnotic and introspective territory.

The record opens with “Satisfaction”, a club-driven cut marking Jesse Maas’ first appearance on Phosphor. Heavy basslines, crisp percussion and a vocal hook give it a strong presence on the dancefloor.

Next up, “Unlimited” sees the label’s founders, Blue Vision, reaffirming their style: melancholic yet groovy, nostalgic yet forward-looking. Deep electro wrapped in lush synths and a powerful low end, it’s a track that continues to shape their identity.

On the B-side, Light Blue File steps in with “Consciousness”, a hypnotic journey marked by his signature production. Rolling basslines and intricate breakbeat drums build a tense, immersive energy.

The VA concludes with B.AI delivering a spacious, emotional piece. Floating textures, drifting pads and a subtle pulse create a deep and introspective finale.

Sophisticated, immersive, and built for the heads. Primary Colours delivers a refined exploration of deep, dub-influenced house with Dislocation by Stelios Vassiloudis. Crafted with precision and restraint, the EP flows through hypnotic rhythms and subtle atmospheres. Ohm & Kvadrant rework the title track into a spacious dreamscape, while Stefan Gubatz closes with a timeless dub-tech excursion.

Sophisticated, immersive, and built for the heads. Primary Colours delivers a refined exploration of deep, dub-influenced house with Dislocation by Stelios Vassiloudis. Crafted with precision and restraint, the EP flows through hypnotic rhythms and subtle atmospheres. Ohm & Kvadrant rework the title track into a spacious dreamscape, while Stefan Gubatz closes with a timeless dub-tech excursion.

A vault of deep pressure unlocked - The Hidden Files collects a set of heavyweight VIPs from The Untouchables, each a reimagined version ofpast dread-infused cuts. Typically crafted for - and reserved within - theirown DJ sets, these alternate versions are now unearthed for wider transmission. Stripped back, rebuilt, and submerged in new layers of sub-weight, they explore a more introspective energy. Tension, restraint, and meditative pressure - the Brussels duo reveals hidden forms with signature finesse.

The next EP on the label comes from our friend and legend Eduardo De La Calle with three classy tracks blending techno and electro with strong jazz influences and a clear nod to Detroit!

Evissimax and Protopapa present a "double face" vinyl record that reimagines the 70s and 80s sounds of one of Italy's musical legends: Loredana Bertè.
"Fare l’amore" comes from Bertè's scandalous and psychedelic debut album (1974). Evissimax's unique style preserves the song's message of freedom, bridging generations united by shared ideals and explosive energy.
Protopapa, a DJ and a key figure in Italy's LGBTQIA+ community and electronic music scene, has previously remixed tracks by Raffaella Carrà, Ricchi e Poveri, and Ornella Vanoni. His remix of "La goccia" is a return to his roots, giving the track an electro makeover that blends with the original's rock essence. The remix incorporates hints of UK garage and classic house samples, staples of his DJ sets.