Cerca:ba

Craig Bratley’s sophomore album, Return To Bass, has been a long-time gestating, with a whisky-like distill time in the musical barrels from whence this came. His debut was in 2014 and 12 years later here he is again, in the blink of a, er, Jurassic age. In that time, he’s gathered a good deal of experience, released several musically varied 12-inches, as well as having Andrew Weatherall remix a few of his efforts (not completely surprising, since The Guv’nor also played Craig’s music).

Bratley has spent the last few years honing his musical and technical skills which are evident on this album, as are his influences, which can be heard on his impressively consistent back catalogue, include Italo-disco, British electropop, acid house and a slowed down version of Chicago house that lends it a heroin crawl. Added to that, though, is the dub reggae sound championed by King Tubby, Lee ‘Scratch’ Perry and our own Dennis Bovell, which is much in evidence on this set.

It seems apposite, in the wake of the death of Sly Dunbar (and, less recently, his partner, Robbie Shakespeare) that Craig’s album is now appearing, since Bratley’s sound is imbued with a dub sensibility and the engine of the whole set is built around the thud that Sly & Robbie brought to their greatest productions; the song titles are clues: ‘Plasticine Dub’, ‘Return To Bass’ and ‘No In Between Dub’.

The LP Features standout vocals from Amy Douglas, Thomas Gandey, and Ola, plus funeral-march trumpet work by Tim Hutton.

Salin, gefeierte Schlagzeugerin, Produzentin und Komponistin, geboren in Thailand, wohnhaft in Kanada, ist bekannt für ihre innovative Verschmelzung globaler Rhythmen. Ihr bahnbrechendes Album "Rammana" erhielt 2025 eine JUNO-Nominierung als "Global Music Album of the Year" und wird nun flächendeckend auf Tonträger erhältlich. "Rammana" ist eine zutiefst persönliche Reise, die die Klänge Nordostthailands mit dem psychedelischen Soul Westafrikas der 1970er-Jahre verwebt – gefiltert durch Salins modernen Produktionsstil. Inspiriert von traditionellen Trommeln und Volksliedern der Urak Lawoi, einem indigenen Nomadenvolk Thailands, ist Salins Album eine Hommage an die musikalische Migration und den Austausch zwischen Ost und West. Ihre Musik reflektiert Themen wie Identität, Spiritualität und Menschlichkeit, gepaart mit einer Prise Lebensfreude, und erschafft eine einzigartige Klangreise für die Zuhörer. Salin tourte durch Nordamerika und Europa (u.a. Jazztage Dresden, Überjazz, Trans4JAZZ-Festival, JazzOne+ Festival) und trat als Support für Kokoroko und Yussef Dayes auf.

Available as 2LP & as a Bundle 2LP+Book (English, Portuguese & French).

Featuring DJ Anderson do Paraiso, DJ Sandrinho, Jonas Albrecht, Xexa, Felinto, Gabi Guedes & Sávio de Queiroz, Vincent Taeger, Kimia.



Upon their arrival in Brazil after the traumatic Atlantic crossing, enslaved populations from West Africa sought to reconstruct their sacred cultural and spiritual systems within a profoundly hostile environment. Five centuries later, the vitality of terreiros (ritual grounds) across the country bears witness to a living and adaptive religion that continues to evolve while remaining deeply rooted in ancestral traditions. Today, Candomblé is celebrated throughout Brazil and increasingly recognised internationally, far beyond Afro-descendant communities.


The project “Candomblé: Sacred Rhythms in Brazil”, articulated around the publication of a book and a double LP combining original sound archives with newly commissioned compositions, seeks to honour this tradition by documenting its historical foundations while offering a critical and artistic reflection on its contemporary transformations and future trajectories.

Featuring DJ Anderson do Paraiso, DJ Sandrinho, Jonas Albrecht, Xexa, Felinto, Gabi Guedes & Sávio de Queiroz, Vincent Taeger, Kimia.



Upon their arrival in Brazil after the traumatic Atlantic crossing, enslaved populations from West Africa sought to reconstruct their sacred cultural and spiritual systems within a profoundly hostile environment. Five centuries later, the vitality of terreiros (ritual grounds) across the country bears witness to a living and adaptive religion that continues to evolve while remaining deeply rooted in ancestral traditions. Today, Candomblé is celebrated throughout Brazil and increasingly recognised internationally, far beyond Afro-descendant communities.


The project “Candomblé: Sacred Rhythms in Brazil”, articulated around the publication of a book and a double LP combining original sound archives with newly commissioned compositions, seeks to honour this tradition by documenting its historical foundations while offering a critical and artistic reflection on its contemporary transformations and future trajectories.

Strictly limited to 150 copies. DJ use only.

By popular demand, almost two years after its original release, we're finally pressing one of MM Discos' most iconic records to vinyl. A record that, in many ways, captures the label's vibe, spirituality, and sonic identity.
Daichi landed in 2024 with standout versatility, effortlessly pulling almost any genre into a balearic universe, bending it to his own language.
From the proto-tropical trance of "See of Cosmic" to the loose, hard-to-pin-down house of "Dampness," somewhere between Madchester moods and an Arthur Russell-esque swing. Late-night energy runs through "You Got Me" and "Aja Aja" - the former riding a garage swing, the latter drifting further into that signature cosmic space. To close it out and ease the tempo down, Daichi moves into more disco-leaning territory with a pair of understated but heavyweight edits.

Hip Hop icon and one of the genre’s most distinctive voices, Big L returns with 'Harlem's Finest: Return Of The King', the latest release in Mass Appeal's 'Legend Has It...' series.

Features guest appearances from Nas, JAY Z, Mac Miller, Joey Bada$$, Method Man and more

A founding member of the legendary Wu-Tang Clan, Ghostface Killah is Hip Hop’s masked poet — known for his cinematic storytelling, gritty slang, and razor-sharp delivery. With classic albums like Supreme Clientele and Fishscale, Ghostface carved his name into rap history as one of the most original and consistent voices in the game. The Wait is Over. Supreme Clientele 2 is FINALLY here. The highly anticipated album is a vivid- late-night noir where every bar brought Ghost’s inner thoughts to life. From Staten Island to sold out stages worldwide.

Focus Track: Bear Hill Album Description: Raekwon’s The Emperor’s New Clothes is a sharp return to form, showcasing the Wu-Tang veteran’s lyrical precision and timeless street wisdom. The album is powerful with equal parts - high-quality bars and carefully sculpted production. Raekwon recruits a stacked lineup of guests, including Nas, Griselda, Method Man, Inspectah Deck, and Ghostface Killah, injecting the project with gritty energy and legacy chemistry. Marsha Ambrosius and Stacy Barthe provide smooth, soulful hooks, adding emotional layers to the hard-edged verses. Production comes courtesy of Nottz, Swizz Beatz J.U.S.T.I.C.E League and more. The LP is a reminder of Raekwon’s enduring power as a lyricist and curator. A veteran artist showing that mastery doesn’t need excess. The Emperor’s New Clothes is regal, streetwise, and sharply tailored for those who value craft.

Basking in the glow of Lightsaber, the swashbuckling synthesizer synergy of Tending Tropic, Kay-Chi and Sharlese debuts. A cross-continent collaboration that bridges the Atlantic, this group joins forces through a shared passion for italo and wave with their sound set firmly on the floor. The title track is analogue brightness, drums drive a melody that dips and soars next to Sharlese’s uplifting lyrics. Energy levels are high from the needle drop. Cymbals crash for “Timeloop.” Vocoder words are softened by gently scaling chords before generous builds give way to sparking synthwork. Disco flourishes and bongos break to spiralling notes in the playful “Luminara.” Cosmic influences radiate through key shifts and understated toms in this celebration of the night sky. “Inertia” marches to a heavy-hitting beat. Industrially dipped, the percussion is fortified by a simmering melody that spills over into a bold body-throbbing close. Despite being oceans apart, this is a partnership light years ahead.

2026 Repress

Jack Stevens aka Sully has become somewhat of a cult figure in the jungle world with his output being in high demand. His work is unmistakable. It’s always true to it’s origins while simultaneously adding new takes and juxtapositions in palette and composition. A true artist that excels in his field.

Stevens returns to Astrophonica with Swandive, a body of work presented in dual energies - dark & light, body & mind, Yin & Yang. In Werk you’re put to the test physically as es- ki-like percussion stabs grab the attention and demand a response. A staple in Fracture’s DJ sets for the last year or so.

Poison demonstrates a side to Stevens’ production that is harder, meaner, cruder and all together more brutal than he is known for. The result is an infectious mix of venomous bass and corrupted drum breaks fit to kill any dance.

The title track Swandive begins to counterbalance the fierce energy and bring some harmony opening with calming strings and trademark icy melodies before elevating to an intense state of amen divinity that twists and turns in a story like fashion.

Memories completes the balance with euphoric bass stabs and emotional strings culminat- ing in a searing and conclusive anime-like solo. Some of Stevens’ most daring work. The cycle is complete.

After more than a year and a half of consistent output, KYSH returns to vinyl with its second physical release. Following a streak of four VA compilations, nine solo EPs and a strong debut on wax, the label keeps its momentum — expanding its roster while refining a distinct, contemporary techno identity shaped by both emerging names and established forces. KYSH-002 brings together four artists representing different shades of the current sound. Opening track “Activ” sees SEIGG return shortly after his solo EP, delivering a signature glitch-driven banger with a powerful, instantly recognizable hook. Alarico follows with “Tears”, building emotional tension through his characteristic chopped vocal work and driving arrangement. On the flipside, Fenim0re’s “My Last Descent” shifts into a more restrained, hypnotic territory — a minimal yet groovy tool with a strong sense of forward motion. Closing comes from Toobris with “Zawyeh”, a low-end focused cut recalling early 2000s minimal techno aesthetics, reimagined with increased, modern pace. With KYSH-002, the label solidifies its presence on wax — delivering a focused, high-impact selection from some of the most vivid voices in modern techno.

Claus Voigtmann has built his reputation away from excess, favouring precision, patience, and a deep understanding of the dancefloor over trend-led movements. Emerging from a punk background, his approach to music carries that same raw intent, translated into rolling, groove-led sets that blend movement with a stripped-back sense of pressure and release. As co-founder of the influential Toi.Toi.Musik party series, he helped shape one of London’s most respected underground movements, while later channelling his focus into his label Subsequent - a platform for more exploratory, long-form expression that has found its way into the crates of DJs including Zip, Ricardo Villalobos, and Sonja Moonear.

Having already landed on Enzo Siragusa’s FUSE imprint in 2023, remixing the label boss’s ‘Laughing Tones’, and after featuring heavily across the brand’s global events for years, his ‘Elevate’ EP distils his ethos into four direct, function-led cuts. Built with clarity and intent, the record reflects his commitment to music that works in the room first and foremost, resulting in a collection of tracks shaped by experience rather than excess, and where every element serves a clear purpose.

‘Bass Tool’ brings low-end pressure and tightly wound percussion, setting the tone from the off , while ‘Loading Complete’ leans into a more cosmic roll, layering shifting textures over a forward-driving framework. On the B-side, ‘Sidequest West’ keeps the focus in the sub-bass realms while still maintaining focus on groove and flow, before the title cut closes the release by opening things out, balancing weight and space in a way that reframes the EP’s direction and journeys into the late hours.

DJ Support: Enzo Siragusa, Traumer, Laidlaw, Voigtmann, Janeret and many more

Mateo Dufour and Cosenza return to Key Records as part of the label’s family, this time joining our second vinyl release with Sweat, representing the Rio de la Plata sound on the dancefloor.

The A-side is led by ‘Sweat’, a high-impact, peak-time track driven by a penetrating vocal and a distinct vintage character. Road-tested over the past months, it has become a true secret weapon in sets by artists such as Traumer and Enzo Siragusa. Following that, ‘Girl (I Want To)’ lowers the intensity, moving into a more groove-driven and sensual territory, creating a natural contrast within the side.

The B-side shifts into a more playful and character-driven territory, suited for transitional moments, whether at sunrise or during deeper phases of the night — perfectly fitting summer settings. ‘Why So Freak?’ stands out for its distinctive synth line and catchy vocal, giving it a strong and recognisable identity. Closing the EP, Dan Ghenacia delivers a deep and refined remix, adding an elegant layer to the release.

From peak time to early morning, just drop it and let it speak.

A record that balances impact and subtlety, reinforcing the connection between the artists and the Key Records universe.

Label owner of Mauna and rising star Delazar gives us a personal and versatile EP that we are so proud to present to you. A side is for the club, strong baselines and punch kicks. B side is for the soul and for unforgettable times. Check it yourself and use it as you wish.

In celebration of the Persianate new year usually taking place on March 21st Afghan-German producer artist Farhot announces his follow up project "Nowroz 1401" which translates into "New Year 1401" - the number marking the year according to the solar calendar which is used in countries like Afghanistan and Iran. While Nowroz is being celebrated in several additional regions like Azerbaijan, Kazakhstan or Kirgizstan and partly also in Pakistan, Syria, Tajikistan, Georgia and Turkey - this 4-Track EP pays tribute to Afghan contemporary artists like singer-songwriter Calid, London based Elaha Saroor and rapper Khan all while referencing the golden era of Afghan psychedelic pop most prominently represented by Ahmad Zahir samples - and with that marking this special release as a contribution to preserving Afghan culture and tradition while Afghanistan"s recent brutal occupation by the Taliban continue to threaten and erase Afghan artistic tradition. Further "Nowroz 1401" was born out of the urgent feeling to uphold and celebrate an essential tradition of Persianate cultures so that the following generations of diaspora children don"t lose access to their cultural heritage while not being able to live or visit their countries of origin, where such holidays are institutionalized and therefore experienced as a community festivity.

Qadir Bijoux has been honing his craft for years, cooking up something deeply soulful, made of organic ingredients and infused with oriental spices. The Dilla-inspired producer/rapper is set to give you a first taste of his debut MEWE - an album with a jazzy, Madlib-esque sound. For the most part it"s an instrumental, sample-based project. Let the filter bass massage you and be mesmerized by Qadir"s and his partner in crime Ninja Kidsoul"s soothing backing vocals.

After two EP releases and a few millions streams later, Hamburg based songwriter, producer and visual artist KUOKO is about to drop her debut self-titled album. Released via Kabul Fire Records this album is brimming with energy and purpose, the singles such as Perfect Girl and Strong Girls Don"t Cry see KUOKO channeling her frustrations with society"s demands of women, and the impact that it can have on them. As a Vietnamese-German woman KUOKO is claiming her own place in an industry that often doesn"t represent women in the complex and fluid ways in which they actually exist and create music - self-taught, conceptual, ambitious.

On her second EP "Reality Check", Kuoko continues to make her way and search for her own answers. On the follow-up to her debut "Lost Woods", her electro-pop sound remains mystical and spherical, but, as the title implies, this project sees the Hamburg-based music producer deal with a number of quite tangible, personal and social topics. On songs like "Floating" or "Hiding in the Dark" she reminds us to follow our guts despite the ever- increasing pressures of society and technology . Despite the heavy undertone, the atmosphere remains positive all throughout the EP as Kuoko"s crystal-clear voice floats through the elaborate, ethereal soundscapes that she created. After putting out her debut EP in 2018, playing several live shows - three of them at the Reeperbahnfestival - and winning a local award for emerging artists (Krach + Getöse), the young multi- talented artist now invites us to check out her latest work. Accept this invitation and give it a listen. It"s definitely worth it.

Germany"s producer elite gathers on this new instrumental compilation by Kabul Fire Records and, just in time for the G20 summit in 2017, is sending a powerful signal against nationalist isolationist politics and global exploitation. Label boss Farhot has brought together pretty much everyone that has rank and name in the German hip hop scene: Bazzazian, The Krauts, Dexter, KitschKrieg, Brenk Sinatra, Ghanaian Stallion, Suff Daddy, Samy Deluxe, DJ Desue, and many more. Everything exclusive, everything fire! The proceeds from the project go to a school construction project of the Hamburg association Visions for Children e.V. in Afghanistan. Make beats not borders!

Bristol-born, London-based DJ, producer, trailblazer and label head, Conducta announces his brand new EP, SOUNDBOY JOHNNY slated to drop on the 29th May via Up Ya Archives Records.

The new single sees Conducta link up with one of Jamaica’s most original and exciting artists, for a high-tempo cut that channels UK breakbeats into a bassy club roller. Built around an irresistible hook that sticks, ‘Low Can U Go’ sets the tone for the wider project, with BLVK H3RO’s vocal collaboration bringing a fresh edge to accompany the raw, driving intensity Conducta is known for.

The EP, SOUNDBOY JOHNNY sees Conducta lean further into the sounds shaping his recent DJ sets, channelling his long-standing love of jungle and breakbeat into a focused body of work. Across the project, he experiments with faster tempos and chopped breaks, stepping into new territory as a producer. As his first solo release of the year, it marks a confident return with a clear sense of direction, underlining his versatility across different sonic spaces.

** HEAVY DJ SPLIT 7" SERIES ** BASED ON THE NOW HIGHLY COLLECTABLE LTD SPLIT 7" SERIES THAT LAUNCHED ANCIENT GREASE RECORDS A FEW YEARS AGO - THIS TIME, FOR RECORD SHOPS EVERYWHERE ** ------------ ** ONE ADDICTIVE HEAVY 70s ROCK RARITY ON EACH SIDE ** HAND EMBOSSED WEATHERED SLEEVE ** UNIQUE SPLATTER DESIGN WITH SMALL CENTER LABELS (LTD TO 200 COPIES IN THIS STYLE) ** LOUD-CUT 45 ** EPHEMERA PHOTO INSERT ** PART OF THE AGR 'HEAVY DJ' SERIES

The definitive German Power Metal debut, reborn on clear vinyl!

The definitive 1998 True Metal Masterpiece - reissued on red vinyl!

First released in 1976, "Metallic K.O." was the fourth album from IGGY & THE STOOGES, a classic, memorable recording of the Stooges confrontational last gig. The Stooges had not been heard since "73"s "Raw Power", and the sound of kamikaze Iggy in between new songs dodging eggs and glasses thrown by Hell"s Angels gave him a new audience in the embryonic punk crowd. It defined Iggy as a punk originator, sold 100k+ and become the Stooges best-selling album. Previously re-issued as an extended, two-CD set with two complete shows (FREUDCD070), it"s now been condensed down to the exact original album edit that shocked and inspired so many. In the 2007 remastering from the original tapes an original tape-speed fault was found - now for the first time the album can be heard in the correct pitch! As Lester Bangs said: "IT"S THE ONLY ROCK ALBUM I KNOW WHERE YOU CAN ACTUALLY HEAR HURLED BEER BOTTLES BREAKING AGAINST GUITAR STRINGS". Recorded 1973 & 74. Inner bag with historical background.

Diles Que No Me Maten sind eine fünfköpfige Band aus Mexiko-Stadt, deren vom Krautrock beeinflusster Art-Rock sich zu etwas wirklich Einzigartigem entwickelt hat - drahtig, poetisch und voller Improvisationslust. Ihr viertes Album ,Escrito en Agua" (Geschrieben im Wasser), ist ihr bisher fokussiertestes und zugänglichstes Werk, aufgenommen in einem provisorischen Studio in Santa María La Ribera mit Produzent Sebastián Rojas. Aufgebaut um zurückhaltendes Schlagzeugspiel, bewusste Pausen und die spirituelle Schwere der Begräbnismusik aus Oaxaca, bewegt sich das Album mit einer gemächlichen Selbstsicherheit, die sich hart erkämpft anfühlt. Thematisch ist ,Escrito en Agua" ein Album über Präsenz, Umherirren und Widerstandskraft - Songs, die mit Mehrdeutigkeit leben, anstatt sie aufzulösen. Die Lead-Single ,Hiriku" gibt den Ton an und verbindet frenetischen Krautrock mit Zeilen aus José Vicente Anayas visionärem Gedicht ,Híkuri", während der herausragende Track ,No me" ein Mantra der Selbstsicherheit in etwas weitaus emotional Komplexeres verwandelt. Gewidmet sowohl dem indigenen Morgenstern Tunuwame als auch dem palästinensischen Dichter Mahmoud Darwish, endet das Album so, wie es beginnt: still und transzendent, mit achtsamer Aufmerksamkeit für die kleinsten Details dessen, was es bedeutet, lebendig zu sein.

French label Latency presents ‘Estradas (Versions)’ - a dynamic reimagining of the acclaimed collaboration between drummer-composer Valentina Magaletti and Afro-Portuguese producer Nídia. Following Estradas’ recognition as one of 2024’s Best Albums by Pitchfork, The Wire, Resident Advisor, Artforum, Bandcamp, and more, ‘Estradas (Versions)’ invites a diverse lineup of producers and DJs to deconstruct and reimagine the raw percussive language initially crafted by Magaletti and Nídia. Where the original Estradas channeled their distinct rhythmic sensibili- ties into a bold sonic statement, this collection pushes those ideas further - opening the material to radical transformation across tempo, genre, and mood.

One of the leading baile funk innovators from Belo Horizonte, Dj Anderson do Paraíso opens the release by transforming “Andiamo” into a slow-burning, hallucinatory drift. Mexico-based Rosa Pistola and Freebot follow with “Rapido,” infusing it with syncopated, raw heat drawn from the pulse of underground Latin dancefloors. Lebanese-Australian producer Dj Plead pares “Sicilia” down to its core, distilling its essence into stripped-back, polyrhythmic ten- sion. On “Mata,” Brazilian DJ and producer BADSISTA delivers a fierce, bass-heavy version driven by slicing synths and unrelenting club pressure. Multidisciplinary artist FAUZIA sharpens the rhythmic intricacy of “Nasty” with her signature blend of speed and emotion.

London-born DJ, producer, and label founder Sherelle - known for her high-octane 160bpm mix of footwork and jungle - injects “Estradas” with blistering breakbeat energy, reframing its urgency through a razor-sharp UK lens. Chinese musician and sound artist Yu Su offers a fluid, atmospheric reinterpretation of the same track, softening its edges while preserving its momentum. Scottish composer and producer Fergus Jones pulls “No Promises” into hypnotic new rhythmic terrain. Dominican producer and multidisciplinary artist Kelman Duran stretches “Ta A Bater Ya” into a shadowy, reverberant space, while Lebanese composer and multi-instrumentalist Charif Megarbane and its Cosmic Analog Ensemble reimagines it with layered, cinematic textures echoing vintage library music and psych-jazz soundtracks.

These artists treat Estradas as raw material - reframing its structures and reactivating its rhythmic possibilities through entirely new prisms. What emerges is not a conventional remix album, but a vibrant constellation of versions : a response to Estradas’ percussive provoca- tions, and an extension of its spirit of exploration - all while keeping its pulse alive.

Newly signed to Heist or Hit (Westside Cowboy, Her’s, Nature TV), Georgian's forthcoming debut EP 'Crackled Grounds' reads like an anthology in the vein of The Ballad of Buster Scruggs. These aren’t just songs, but scenes, self-contained worlds that glimmer with strange detail before dissolving into mirage. “We recorded on a farm just north of Amsterdam” states James. “It gave us space and focus and helped us channel the Western feel we wanted to impress upon the tracks. Arno gave us lots of pedal board options and guitar choices. Those things in particular helped us fine-tune the sound we were chasing.” The resulting collection chronicles the ups and downs of existence and blooms with natural imagery. ‘Strike a Wound’ seethes with revenge. The slow attack on the guitars has the onomatopoeic effect of enacting each blow. ‘Crackled Grounds’ conjures an apocalyptic wilderness that wouldn’t be out of place on the ‘Kill Bill’ soundtrack. ‘Medusa’ is a parable of strong women overcoming obstacles and jolts with the energy of those early Johnny Cash Sun recordings. ‘Gardens’ lingers on the awkward tenderness of running into a long-lost lover; while ‘Californian Jeans’ pays homage to denim as talisman, armour, and second skin.

The Mamas & The Papas were formed by husband and wife John and Michelle Phillips, formerly of The New Journeymen, and Denny Doherty, formerly of The Mugwumps. The last member to join was Cass Elliot, Doherty's bandmate in The Mugwumps. The group considered calling itself The Magic Cyrcle before switching to The Mamas and the Papas as apparently inspired by the Hells Angels, whose female associates were called "mamas".

They released a total of five studio albums and seventeen singles over a four-year period, six of which made the Billboard top ten, and sold close to 40 million records worldwide. The band was inducted into the Rock and Roll Hall of Fame in 1998 for their contributions to the music industry.

The band’s first single, “Go Where You Wanna Go”, was released in 1965. The second single, “California Dreamin’”, was released later in 1965 and quickly peaked in the charts. The band’s album, If You Can Believe Your Eyes And Ears, was released in March 1966 and became the band’s only number 1 album on the Billboard 200. The third and final single from their debut was “Monday, Monday”, which became the band’s only US number 1 hit. The song brought the band international success.

Collected is a perfect overview of the multiple classic hits and tracks throughout the career of The Mamas & The Papas and complimented with several popular tracks by Mama Cass Elliot.

Music On Vinyl proudly presents a special edition of The Mamas & The Papas Collected compilation, which is available as a limited edition of 5.000 individually numbered copies on blue vinyl, and includes a booklet with liner notes.

n a career spanning over 50 years James Brown became known as a progenitor of funk music and influencing the development of many other genres. All his hit songs, hidden gems and collaborations are now bundled on Collected. It contains 29 songs, including music from his early days with the Famous Flames, the J.B.’s and a wide collection of tracks from his solo career.

Brown began his career as a gospel singer and joined a rhythm and blues vocal group, the Famous Flames, as the lead singer in the 1950s. Later on he formed his own band and released successful singles as "Papa's Got a Brand New Bag", "I Got You (I Feel Good)" and "It's a Man's Man's Man's World". While developing the funk to a new level he created the J.B.’s, with which he scored hits like "Get Up (I Feel Like Being a) Sex Machine" and "The Payback". Brown was inducted into 1st class of the Rhythm & Blues Music Hall of Fame, the Rock and Roll Hall of Fame and Songwriters Hall of Fame. During the years he gained different honorific nicknames including "Godfather of Soul", "Mr. Dynamite", "The Hardest Working Man in Show Business" and "Soul Brother No. 1".

Music On Vinyl proudly presents a special coloured edition of the James Brown Collected compilation, which is available as a limited edition of 7.500 individually numbered copies on gold vinyl, and includes an insert with liner notes.

Angel Witch is a pioneering British heavy metal band formed in London in 1976. Together with bands like Iron Maiden, Saxon and Diamond Head, Angel Witch is a key part of the New Wave of British Heavy Metal (NWOBHM), they are recognized as a major influence on early 1980s metal, including bands like Metallica, Slayer, and Megadeth.

The band lineup back then consisted of Kevin Heybourne, Kevin Riddles and Dave Hogg. Angel Witch's self-titled 1980 debut album is considered a seminal, influential work, and to this day metalheads all over the world sing along to the title track Angel Witch whenever it's played. The album cover features an image of a well-known painting; The Fallen Angels Entering Pandemonium by John Martin.

Angel Witch is available as a limited edition of 750 individually numbered copies on silver vinyl.

Irgendwann um das Jahr 2024 tauchte Vorhex Angel scheinbar aus dem Nichts auf: keine Social-Media-Präsenz, keine Identitäten, lediglich ihr Name tauchte hier und da auf einem Flyer in Nashville oder New Orleans auf. Wer neugierig genug war, um ihre Live-Show zu besuchen, konnte mit einer Vielzahl unerwarteter Dinge konfrontiert werden, die die Sinne anregten: aufwendige Bühnenbilder, Stroboskoplichter (oder alternativ völlige Dunkelheit), brennende Gegenstände, vor dem Auftritt eingenommene Rauschmittel. Die Musik bei diesen Auftritten passte zu dem Mysterium. Sie war laut, unberechenbar und verdammt viszeral. Wenn die beiden Live-Veröffentlichungen der Gruppe und ihr Debüt ,Heavenly" tatsächlich viszeral sind (Raven Sings the Blues nannte sie ja ,Erben des Strudels von High Rise"), dann ist der Nachfolger ,Drain" sicherlich ihr intellektuelles Werk. Seine sieben Tracks führen den Hörer vom Morgen bis zur Nacht, ein weitläufiges experimentelles Doppelalbum mit überlebensgroßen Gitarrensoli, spacigen Drone-Exkursionen und Momenten von kraftvoller Intensität durch das gesamte Werk. Zum ersten Mal sehen wir, wie Vorhex Angel ihren hämmernden Klangangriff gegen stimmungsvolle und dramatischere Gefilde eintauschen. Die Band - bestehend aus den Brüdern Jake und Jamin Orrall von JEFF the Brotherhood und Kunal Prakash von Silver Synthetic - erweitert die Grenzen des Vorhex-Angel-Konzepts, lädt neue Musiker in ihren Kreis ein, geht mehr Risiken ein und erntet dafür umso mehr. ,Drain ist keine Musik, die man im Hintergrund beim Kochen laufen lässt", warnt Kunal, bevor er zwinkert: ,Vielleicht ist sie etwas für besonders abenteuerlustige Köche." Vorhex Angel verspricht, dass noch mehr kommen wird. Mehr Jams, mehr unerwartete Wendungen - allein in diesem Jahr können wir mindestens eine Tour und mindestens zwei (!) weitere Alben erwarten. Vorerst gibt es ,Drain" zu feiern, sich damit auseinanderzusetzen, damit der Hörer wie die Musik selbst ein- und ausatmen kann, mit reichlich Raum für gedankliche Kontemplation. SPA Sometime around 2024, Vorhex Angel emerged seemingly out of the ether: no social media presence, no identities, simply their name popping up in Nashville or New Orleans on a flyer here and there. Those with enough curiosity to attend their live show could be met with any number of unexpected things to spike the senses: elaborate stage dressing, strobe lights (alternatively, complete darkness), burning things, pre-performance ingestibles. The music at those functions matched the mystery. They were loud, unhinged, and visceral as all hell. If the group's two live releases and debut Heavenly are indeed visceral (Raven Sings the Blues did name them "heirs to the maelstrom of High Rise"), then followup Drain is surely their cerebral offering. Its seven tracks guide the listener from morning to night, a sprawling experimental double album with larger than life guitar solos, spaced-out drone excursions, and moments of potent intensity throughout. For the first time, we see Vorhex Angel trade their pummeling sonic onslaught for moody and more dramatic pastures. The band-revealed to be brothers Jake and Jamin Orrall of JEFF the Brotherhood and Silver Synthetic's Kunal Prakash-push the parameters of the Vorhex Angel concept outward, inviting new players into their circle, adding more risk and generating more reward. "Drain is not in-the-background cooking-type music," warns Kunal, before winking: "Maybe it is for particularly adventurous chefs." Vorhex Angel promises there will be more. More jams, more left turns-just this year, we can expect at least one tour and at least two (!) more albums. For now, there is Drain to celebrate, to sit and chew on, to allow the listener to breathe out and in like the music does, with ample room for cerebral contemplation.

Nach den kurz nacheinander erschienenen Alben ,Everything Must Go" und ,Chain Yer Dragon" im Jahr 2025 kehren Goose mit ,BIG MODERN!" zurück - einem energiegeladenen neuen Kapitel, das den charakteristischen Indie-Rock-Sound der Band um neonbeleuchtete Synthesizer, treibende Rhythmen und mitreißende, hymnische Hooks erweitert. Neue Tracks wie ,Good2B" und ,Good Times // End Times" erscheinen neben den Fan-Favoriten ,Big Modern" und ,Torero" und fangen den Abenteuergeist von Goose ein, während sie gleichzeitig einige ihrer bisher kühnsten und dynamischsten Studioaufnahmen liefern.

GSQ – Gelatology is a sample-based instrumental hip hop project rooted in crate digging culture, built from jazzfunk, soul, prog-rock and world music sources. The release also launches Gelatology, a new Quattro Bambole
Records sub-catalog dedicated to limited-run, sample-driven vinyl-only releases.

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

The first OM album, Variations on a Theme, features Al Cisneros bass, vocals and Chris Hakius drums. It was produced by OM and originally released in 2005 on Holy Mountain. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. Recorded with Billy Anderson.

Cloud Machines is the extraordinary debut collaboration between M.C. Schmidt of legendary electronic duo Matmos and John Berndt, the Baltimore avant-garde institution and band leader behind High Zero Festival, the Red Room collective, Geodesic Gnome, and radical sonic concepts like Spectral Relay (a bespoke signal processing architecture) and Relabi (a conceptual genre defined by a Rorschach-blot pulse. These two iconoclasts have delivered something genuinely unexpected: an oddly sweet electronic opus that"s as immediately engaging as it is a series of delicious puzzles. When two of experimental music"s most irascible characters spend twelve years crafting an album, you don"t just get another release - it is an anthology of pocket universes. The record is a love letter to two of their strongest mutual influences of the 1980s - the delirious comic books of French auteur Jean Giraud (AKA Moebius) and the beautiful miniatures of the SKY Records Cluster/Eno/Conny Plank collaborations. Cloud Machines honors the spirit of those ineffably "hermetic" creations by reinventing their legacy through the lens of decades of accumulated experimental practice and the duo"s singular creative personalities. The result feels simultaneously like rediscovering a lost classic from 1978 and receiving a transmission from an alternate, somehow better timeline in 2026. Yet unlike so much "difficult" experimental music, Cloud Machines maintains an uncanny and sneaky accessibility - each track a self-contained world, inviting and alien in equal measure.

Cloud Machines is the extraordinary debut collaboration between M.C. Schmidt of legendary electronic duo Matmos and John Berndt, the Baltimore avant-garde institution and band leader behind High Zero Festival, the Red Room collective, Geodesic Gnome, and radical sonic concepts like Spectral Relay (a bespoke signal processing architecture) and Relabi (a conceptual genre defined by a Rorschach-blot pulse. These two iconoclasts have delivered something genuinely unexpected: an oddly sweet electronic opus that"s as immediately engaging as it is a series of delicious puzzles. When two of experimental music"s most irascible characters spend twelve years crafting an album, you don"t just get another release - it is an anthology of pocket universes. The record is a love letter to two of their strongest mutual influences of the 1980s - the delirious comic books of French auteur Jean Giraud (AKA Moebius) and the beautiful miniatures of the SKY Records Cluster/Eno/Conny Plank collaborations. Cloud Machines honors the spirit of those ineffably "hermetic" creations by reinventing their legacy through the lens of decades of accumulated experimental practice and the duo"s singular creative personalities. The result feels simultaneously like rediscovering a lost classic from 1978 and receiving a transmission from an alternate, somehow better timeline in 2026. Yet unlike so much "difficult" experimental music, Cloud Machines maintains an uncanny and sneaky accessibility - each track a self-contained world, inviting and alien in equal measure.

For catalog number 19 Rødhåd teams up with Munich based artist Polygonia. In 2025 these tracks were recorded over multiple sessions at the WSNWG studio in Berlin. The result is MAUVIER a four track EP showcasing the fusion of the two creative minds.

Written & Produced by Polygonia and Rødhåd at WSNWG Studio Berlin.
Mastered by Conor Dalton at Calyx Mastering in Berlin

[a] a1 MAUVIER 01 [250120]
[b] a2 MAUVIER 02 [250331.1]
[c] b1 MAUVIER 03 [250331.2]
[d] b2 MAUVIER 04 [250401]

VA – Parallel Sequences continues MixCult Records’ tradition of curating forward-thinking soundscapes for refined dancefloors. This four-track compilation brings together the finely tuned craftsmanship of Kirill Matveev, Genning, Overt, and Dawn Gab — producers with surgical precision and a deep understanding of space, groove, and sonic narrative. Together, they present a multi-faceted EP rooted in dub techno and tech house, designed with intention and built to navigate a wide emotional range throughout the night.

A1. Kirill Matveev – Never Losing That Track (Overt Remix) is a masterclass in momentum. It rises patiently yet confidently — perfect for steering the atmosphere toward something uplifting, with each element unfolding with deliberate purpose.

A2. Genning – Parallel shifts the energy into shadowy territory. Deep, dubby, and melancholic, it acts as a reset moment — cooling the air while preserving depth, tension, and forward motion.

On the flip, B1. Dawn Gab – Call Of The Wind moves between melodic phrases and swinging percussive patterns, offering a graceful push-and-pull that feels fluid, textured, and inviting.

Finally, B2. Genning & Kirill Matveev – Blueberry brings the release to its emotional peak with bright, expressive energy. Melodic and high-spirited, it is engineered precisely for a euphoric moment on the floor.

This EP is a toolkit for thoughtful selectors — designed to glide through introspection, propulsion, and release with clarity and finesse. Whether opening a night, shaping the arc, or closing with warmth, Parallel Sequences delivers depth, agility, and emotional charge in perfect balance.

Jazz-fusion, disco-funk, Latin jazz and batucada rhythms get the Filipino treatment onAfter Midnight, the sublime second album from keyboardist Boy Katindig. Originally released in 1980, After Midnight draws heavy influence from soul and funk contemporaries in the US as well as Latin America, in particular the famed Brazilian percussionist Paulinho da Costa.

It’s a testament to his musical prowess that Katindig weaves effortlessly between styles and tempos. His reverence for Paulinho da Costa extends far, with covers of several songs from the latter’s 1979 Happy People album. This includes slow-burner ‘Déjà Vu’ written by Isaac Hayes originally for Dionne Warwick; on the Filipino instrumental version, local legends Jun Regalado and Roger Herrera (from Regalado’s ‘Pinoy Funk’ single) are reunited on drums and bass respectively.

But Katindig’s original compositions hold just as much weight and unique personality: title track ‘After Midnight’ opens with a sultry funk serenade reminiscent of The Isley Brothers, and quickly transforms into a catchy, blistering, saxophone chorus that brims with swagger. Hidden B-side gem ‘Got The Need’ is an uptempo tribute to batucada that would not be out of place in a jazzy house set, and boasts increasingly elaborate and psychedelic solos from Katindig on keys and Ben Concepcion on soprano sax.

Meanwhile, ‘Love Till the End of Time’ is a masterclass in instrumental disco funk, penned by the prolific Greg Phillanganes who at that same time was writing for many of the greats including Chaka Khan, George Benson, Stevie Wonder, The Jacksons and Cheryl Lynn.

This album is lovingly reissued by Sama Sama Records, a boutique label from DJ and collector Norsicaa, who ran the esteemed Soundway Records for 8 years and released the compilation Ayo Ke Disco in late 2024.

Tirakat brings together Jakarta-based trio Ali and Lebanese composer and multi instrumentalist Charif Megarbane in a collaboration rooted in long histories of cultural exchange between Indonesia and the Arab world. Ali are known for blending 1970s Indonesian psychedelic funk with Orkes Melayu, disco grooves, and Arab melodic forms, while Megarbane’s extensive catalogue has consistently explored similar cross-regional currents through jazz, library music, and Mediterranean-influenced arrangements. What connects the two is not genre alone, but a shared musical vocabulary shaped by overlapping histories, references, and lived cultural continuities.
The relationship between Indonesia and the Arab world stretches back over a thousand years, forged through Indian Ocean trade routes that carried not only goods, but languages, belief systems, instruments, and musical ideas. These exchanges were gradually absorbed into local traditions rather than replacing them. In Indonesia, Arabic musical elements entered through devotional practices and ensemble formats such as Gambus, Qasidah, and Orkes Melayu, where maq?m-derived melodic structures were adapted into local tuning systems and performance styles. Over time, these sounds became embedded within Indonesian popular music, shaping genres such as dangdut and informing a wider sonic landscape that remains audible today.

Sekhem opens a new portal. We are pleased to welcome Multivoq’s debut as Omega Tribe. He delivers four cuts engineered for the dancefloor, driven by razor-sharp grooves and strong basslines, with every element precisely tuned. Analog machines bring warmth, sequences pulse like coded transmissions, vocals drift through the mix as signals from space... Each detail shapes a journey built for powerful sound systems.

Geoglyph is the new duo project by Alohn and Khey Mysterio, a convergence of two deeply singular practices into a single subterranean signal. Their debut album arrives as the eighth reference on Organic Signs, not as a collection of tracks but as a carved artifact: six inscriptions pressed into vinyl, mapping a sonic territory where time, rhythm and texture are no longer linear, but layered like geological memory.

Through Geoglyph, Alohn and Khey Mysterio convey a message from below, or beyond. A pulse engraved from forgotten times in the basement of reality, reactivated by abyssal basses, vibrating layers and fractured textures. Exhumed from the subterranean strata where psychedelic dub, mineral techno and fractal dubstep fuse into raw energy, their music becomes a point of contact: every beat, every silence, every oscillation acting as a coordinate toward another perception. What unfolds is not simply sound design, but an invocation, rhythms as sigils, timbre as gnosis, signals that seem to arrive already charged with intention.

Across the album, Alohn’s guitar notes fall like cascades through the mix, dissolving at times into controlled feedback and crystallizing into melodic fragments that hover between tension and release. These organic gestures are interwoven with Khey Mysterio’s dense low-end architectures and rhythmic frameworks, creating a constantly shifting terrain: from weightless transmissions and ritualistic voices to moments of overwhelming propulsion where the music suddenly breaks open with tectonic force. The record moves fluidly between meditative suspension and explosive motion, never settling into a single state for long.

A strong undercurrent of what has come to be known as “druidstep” runs through the album, a term coined within the 95 Open Tabs universe to describe a form of dubstep untethered from genre convention, rooted instead in bass as ritual, in groove as invocation. Here it meets dub-techno pulse, psychedelic echoes and high-velocity 4×4 pressure, drawing subtle influence from underground bass cultures without ever becoming referential. The result is a body of work that feels both ancient and forward-leaning, cyclical rather than linear: a living geoglyph that reveals different meanings depending on how (and where) it is read.

As the final movement accelerates into its closing phase, the album releases its energy outward, with frequencies stretched toward their limits, leaving behind the trace of a completed ceremony. In this sense, Geoglyph’s debut stands as a defining moment within the Organic Signs continuum: a record that unfolds rather than explains, offering an experience to be entered, absorbed, and carried. With this release, the label continues to explore new sonic spaces, evolving and expanding while giving deeper meaning to its own essence. A message from beneath the surface, waiting for those willing to tune in.

Más de este género

The Lift Records is an independent electronic music label focused on vinyl releases. The physical format is prioritized as the primary medium. Digital versions are made available via Bandcamp as free downloads.

The label operates with a selective release policy and a consistent editorial approach, without engagement in streaming platforms or trend-driven distribution.

The Lift Records kicks off its debut with Electroshock, a bold EP blending breaks, techno, and house with distinct intensity and character. Highlighted by José’s psychedelic remix, the release drops via Melting Pot Records worldwide.

Constant Black is one of the many, many labels that Burnski heads up. It's where he focuses on stripped-back minimal and tech house with a moody undercurrent. Kerouac is a mainstay in his orbit and here takes one side of a new 12" that opens with 'This Method,' a rigid thumper with an eerie edge. 'Produce To The Max' has a dark bassline and ghoulish vocal sounds, while 'Talking About' is a more light and bumpy percussive number. Mees Mattern takes care of the flip with the dusty, garage-y loops of 'Sloppy Tekniic,' rubbery bass minimalism of 'Reeses Pieces' and grittier '404 Not Found. Six fresh tools for rewiring a dancefloor.

Back on Celestial Echo Records with a true modern soul classic — Jan Jones “Independent Woman”, finally given the treatment it deserves.

A record that’s been circulating in DJ sets and collector circles for years, often via bootlegged pressings as the originals are incredibly rare, this is the first fully licensed reissue, presented properly and with both sides intact - something the bootleggers didn’t do.

A-side Part 1 delivers the track in its purest form — tight, uplifting, and driven by that unmistakable modern soul groove. On the flip, Part 2 stretches things out into a longer, more open version, letting the arrangement breathe and giving the dancefloor the 6 minutes it deserves.

Musically, it sits right in that sweet spot for us — rich vocals, warm keys, and a rhythm section that just grooves. It’s one of the ultimate modern soul tracks.

Licensed officially, as always. Celestial Echo is here to put proper soul records back into circulation — respectfully cut, properly pressed, and ready to play.

Klubb Global Groove returns with its third release in the series of hidden gems across the globe.

These four cuts are carefully edited in the spirit of the OG for maximum pleasure on the dance floor.


On the A-side, “Okej, Daddy” delivers a piano-driven SA house heater, while “Kojo” an electronic highlife jam with hypnotic energy. On the flip side, “Tå Dans” a funk-heavy boogie cut with vocal hooks, followed by “Bäbä Groove”—a euro-house curveball for the deep diggers.


Limited release. No repress. No digital.
Move fast—or live with regret.

Tone Dropout Records kick off the new year in emphatic style with a brand-new 6-track vinyl EP that stays true to the label’s unmistakable dancefloor-driven sound.

Packed with heavyweight grooves, acid lines, breaks, and bleeps, this release delivers six high-impact tracks designed for late-night systems and packed floors. The EP also marks an exciting moment for the label, welcoming two new artists into the Tone Dropout family while celebrating the return of long-standing contributors.

Joining the roster for the first time are KWAKE and Harry Light, both making a powerful debut on the label. They sit alongside Tone Dropout regulars SkyWave Transmissions and XOTR, while label co-owners DAWL and SWEEN reunite once again, delivering an acid-fuelled opener and a special bonus breaks track on Side B.

As always, the EP is overflowing with breaks, bleeps, acid, and raw rave energy.

Side A – The Head Side

Side A opens strong with DAWL and SWEEN at the helm, laying down a driving four-to-the-floor acid groover that would warm up any dancefloor with ease. It’s a statement opener — and a sign of much more to come from the duo throughout the year.

Next up, SkyWave Transmissions brings his trademark experience and finesse, delivering a tightly produced acid-bleep track that showcases depth, quality, and character. Following seamlessly is long-time collaborator XOTR, who rounds out the side with a pure slice of northern bleep excellence — unmistakably Sheffield in style and sound.

Side B

Side B introduces the first of the new Tone Dropout members, KWAKE. A long-time friend of the label, this marks his first official appearance, and he doesn’t disappoint. His track is a full-force breaks banger, capturing authentic rave energy and guaranteed to ignite the floor.

Next comes Harry Light, making an immediate impact with a pounding house-and-breaks hybrid. Impeccably produced and relentless in energy, the track lives up to its name perfectly — “POWER HOUSE.” Both newcomers arrive firing on all cylinders, delivering two massive dancefloor weapons back-to-back.

Closing out the EP, DAWL and SWEEN return with Tones Breaks 5, a three-minute breaks workout and the latest installment in the label’s breaks series. This track also serves as a respectful nod to one of their musical heroes, Frankie Bones, rounding off the release on a high.

Six tracks. All killers. No fillers.
In challenging times, this EP delivers exceptional value — a complete package of club-ready music pressed to vinyl and built for real dancefloors.

Another quality release from Tone Dropout Records.

Fresh on the Discos Panorama series, we head back to Colombia with the undisputed king Fruko y Sus Tesos, pairing him with another all-time classic on the flip from The Latin Brothers. Two heavyweight dancefloor cuts, one essential 7inch.

On the A-side, Fruko does what he does best — driving, percussive salsa built for movement, locked-in rhythm section, sharp horns, and that unmistakable swing that’s kept his records in DJ bags for decades. On the flip, “Buscándote” from The Latin Brothers brings a slower, more melodic touch without losing any punch — real music.

Both sides feature the presence of the legendary Piper Pimienta Díaz on vocals. His voice is raw, expressive, and instantly recognisable. A true legend of the game.

Part of PANORAMA’s Discos Panorama series, this release continues the label’s focus on Colombian salsa at its most vital and dancefloor-ready. Carefully selected, respectfully remastered, and pressed for DJs and collectors alike — music that’s been doing the work for years, now brought back where it belongs.

These Tasty Records returns with Primitive Velocity — a four-cut vinyl various built for peak-time impact.

On the A-side, French DJ Cptik sets things in motion with “Depart Imminent”, a razor-sharp acid weapon infused with eerie, nocturnal tension.
Ecuadorian duo Mop & Quims follow with “Overdose” a tight, percussive tool focused on groove and pressure, engineered for the floor.

The B-side opens with Cptik’s “Jungle Speed”, a high-energy rave cut powered by an infectious bassline and break-driven drums.
To close the record, French producer Aymeric delivers “Long Time Ago”, a melancholic acid finale, introspective yet effective, perfect for the final stretch of the night.

In September 2024, Nacho Piek, Rapha Mundi, Odd Signals and Ibai Machín gathered for four days in a beautiful house in Etxeberri, a small village in Navarre with barely 50 inhabitants. Isolated from everyday rhythm and surrounded by nature, the goal was clear: to create a production camp dedicated exclusively to club music.

The result is Etxeberri EP, the debut of Buenobueno Soundsystem — a work that captures that coexistence in the form of direct and timeless music, designed for the dancefloor. An organic crossing of influences ranging from House, Techno and late-90s Minimal Trance to contemporary UK Bass.

Etxeberri EP will be released on March 13 exclusively on vinyl, in a limited edition of 200 copies. Each record includes an inlay with photographs of the creative process and private access to an audiovisual piece shot by Jesús Iriarte documenting the experience and the spirit behind the project

The highly praised, crazed heavy house hitters from Frits Wentink's golden Pearly world finally find their way onto vinyl. What started as a humble love letter to classic house music, in the form of sparse Bandcamp drops, quickly developed into an essential bag-on-sight imprint for house enthusiasts around the world. Four of these previously digital-only gems are now available on vinyl for the first time. Pearly Soundsystem coming in strong.

It's the end of the liberal democratic order. We regress. Back in time. To an era of authoritarian strongmen. Fascists. Morons. Humanity in reverse. History in reverse. Time in reverse. In reverse.

Movetone Wax returns with a new release from label head Maik Yells: Maya EP, featuring two originals and two remixes from close collaborators DJ W!ld and Diego Krause.

On the A-side, Real B unfolds like a space in suspension — light pads hovering over a rhythmic base that insists on movement, yet denies narrative closure. while Maya locks into a hypnotic vocal loop and driving low end.

On the B-side, DJ W!ld delivers a phat-beats reinterpretation of Real B, and Diego Krause closes the EP on B2 with a precise, floor-focused take on Maya — all tracks sitting comfortably within the release while extending its reach on the dancefloor.

French producer Yse Saint Laur'ant is exactly the sort of artist you want to hear from as the sun begins to shine more often. He's a master of escapist, beauty, classy grooves that marry disco and Balearic into pure magic. 'Space Ride' does that on a bubbly groove with a cosmic edge and 'Saint Tropez' brings loose-limbed funk and boho percussion to a Provencal sound. 'Monaco' is bathed in sunlight and made all the more classy with some gorgeous stings and mellifluous chord work then 'Esplanade' shuts down with a dubby, flute-led sound with a whimsical charm. Twenty First release on the much sought after Vinyl Only label.

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

The Reflex has been busy of late and, though already a proven master of multi-track mixes and mash-ups, he keeps on reaching new heights with each new drop. This is one of several coming in quick succession and finds him dropping the final part of his label Discolidays' collaboration with the Zagora catalogue, which features tunes by Thomas Bangalter's pops, Daniel Vangarde. Here it is the Gibson Brothers' disco belter 'Heaven' that gets beefed up with bright strings and unrelenting drums, driving you to a place of sheer joy. A more obscure sound come son the flip with uptempo drums and sumptuous musicianship laid down by some of the best of the disco era in Paris.

Lewis Taylor is a rising 20-something house head from Newcastle who shows off his chops on this new one from Ebullience. Ebullience is a good way of describing his take on tech and minimal, too. There is plenty of cheer in the lively synth work of opener 'Do You Wanna Come Party', to which the answer is yes, please, very much so. 'Satisfaction' has its head up in the clouds with more wispy cosmic synth motifs, zippy grooves and silky pads that are luminous and pure. 'Optimism' strikes that same balance between low-end oomph and celestial melodic charm - a fresh, future blend that is perfect for summer. 'Still Dreaming' closes with more mature melodies and accomplished arrangements that quietly buzz.

We can't resist the carefully fused and treated sounds of The Reflex who shows his class again here with more multitrack remixes that bring vintage grooves bang up top dates without stripping them of their seasoned charms. 'Cherry Dub' is packed with big riffs and well known vocal-hooks but is dubbed out top perfection with screeching guitar solos destined to send dancers wild. The flip side is a more warm and breezy roller for sunny days and cocktail sessions, again with an iconic vocal and top line adding that familiarity that always unites dancers.

Shep is back on his People Pleaser's label with a fourth transmission of groovy tech house that blends drive, cosmic atmospheres and just the right amount of vocal and melodic hookiness. 'Reach For The Tongs' is warm and dubby, one to get the head down and lock into. 'Pulver Zimmer' has warped synths and glassy percussion, bringing the early Terry Francis style drums to life and 'Rave Gravel Drive' gets more unhinged. The synths are wonky, the sound designs more trippy and abstract and the groove is minimal and synthetic. 'Mutzki' closes with a subtle, warming rush of low-key joy thanks to the muted chords that ride a slick groove.

Adeen Records is next to give weight to the rising profile of Paolo Aniello aka New Digital Fidelity, an accomplished house producer who heads up his own Scopic label which this release is in collaboration with. Raised in Bari and now based in London, Aniello shows this love of Midwestern classics with a release that is slow burning and soulful rather than extroverted in its grooves. The A-side cruiser '4 Hours Away From Southside' sets a smooth tone with gentle chords awakening your soul then '9 Hours Landing' has a jumbled percussive element and heavy, almost beatdown kicks. 'Lake Shore Drive' glides into candlelit late-night territory with dusty drums and frayed analogue edges that get reworked by Ge-Ology into something more busy and futuristic.

Jhobei has been on a constant ascent in the last couple of years, and he's worked with some of the most credible labels in the game in that time, from Fuse to Picnic to Semi Delicious. Now he steps up to Burnski's Pilot with four absolute nuggets. 'Pulse Reflex' is amped right up and ready to go - tightly circling synths, buoyant beats, garage shuffle and slick fills that all demand you bust out some moves. 'Believe' dials things back into a more heady, deeper dub tech vibe and 'Cannei Getcha (To Feel)' brings crispy electronic synths and pensive pads to a future groove before 'Synthetic Symphony' closes with buffed neon pads and smooth progressive chords that ride clean, meticulous drums.

Aubrey is Allen Saei, a UK techno veteran who shaped the early scene as a DJ and record shop worker, but also with his influential label Solid Groove. It launched in 1991 and burned bright for 13 years with fans including Derrick May and Terry Francis. In 2026, it returns with a brand new EP from the boss himself, following a major studio upgrade. His sound harks back to those golden early days but in subtle ways: 'Timing Shock' has booming kicks and wispy synth details bring a future feel. 'Complex Vortex' is a trippy wormhole, 'Spinning Gravity' is deep, Detroit-style machine warmth and 'Cracker Jacker' burrows into a distant cosmic abyss. A fine return from Aubrey.

Three decades deep and as essential as ever, Ralph Lawson's 20/20 Vision Recordings continues to mine its rich back catalogue with care. To that end, 'Full Circle Vol.3' feels both respectful and forward-facing with new mixes of enduring classics. Roman Flugel reworks 'Machine Life' into a driving club sound with fresh vocals and elastic acid lines, while MADVILLA sharpens 'Rhythm Freq' into a sleek hybrid of house, UKG and electro. Simon Baker's updated 'The Liptrick' retains its raw punch, and Formidable Force close with a warm, late-night dub of 'Reactivate'. It is a tidy reminder of the breadth and depth of sound this label has always dealt in.

Ltd to 500 copies.

Following the buzz of his first LP DUBMAID, Tokyo-based producer MERMAID unveils his much-anticipated new LP, DUB FOREVER.

DUB FOREVER blends Reggae, electronic texture, his own vocals and references to classics — Bach's Air on the G String, Gossec's Gavotte, the traditional Japanese song January 1st, and more.

Crazy and tender Dub!

About MERMAID:
MERMAID is a Tokyo-based electronic producer and musician, deriving from the DDM (Dangerous Dance Music) crew associated with Tokyo record vendor Los Apson?.

Neues Farbformat von "ghostholding", dem Debütalbum des gitarrenbasierten Alternative-Bandprojekts venturing der US-Künstlerin Jane Remover, das von der Fachpresse abgefeiert wurde. "Das neue Album der Künstlerin aka Jane Remover ist voller ausufernder, furchteinflössender Schönheit, sowohl kompositorisch straffer als auch strukturell rauer als ihre früheren Ausflüge in den Rock." - Pitchfork. Limitierte Auflage auf orchideenfarbigem Doppelvinyl.

1 Umbrella represents a watershed moment for modern Bay Area hip-hop, effectively serving as the region's "Avengers" assembly designed to consolidate the Northern California sound. For years, the local scene has been bisected by the distinct "mob music" bounce of Oakland and the melodic, trauma-drenched "pain music" of San Francisco; this collective is the first major commercial force to deliberately fuse these competing energies into a single, dominant infrastructure. The roster is a calculated cross-Bay alliance that balances opposing sonic weights: Lil Bean and Lil Yee anchor the group with the emotive, auto-tune-heavy melodies that define the current SF landscape, while Zaybang cuts through that introspection with his signature high-octane aggression.

Balancing the scales are ALLBLACK and 22nd Jim, who inject the classic East Bay attitude-ALLBLACK delivering the motivational, sports-heavy "player" lineage of the region, contrasted against Jim's nonchalant, rhythmic flow. Backed by the powerhouse infrastructure of EMPIRE and united under tracks like "Baller Blockin" and the unification anthem "The Blueprint," the group is attempting to solve the fragmentation that has historically plagued the Bay's independent market. By synchronizing their movement with the arrival of Super Bowl LX, 1 Umbrella is positioning itself not merely as a rap group, but as the official cultural ambassadors for the region, betting that a unified front can finally command the national spotlight that often eludes the West Coast's independent giants.

The Diamonds return with Moran, Absentia, Pianopoli and DJ Fresh & Packim aka Freshim!

A Lisbon classic by now, Paraiso (a label, a radio show, a party and now also a documentary) is back for its 19th release with a pairing who's no stranger to the label or the portuguese techno underground: lucky for us, head honcho Shcuro got back in the studio with techno legend in the making Vil to make Repercussions part 2 - and they invited iconic Spanish producer Annie Hall (Delsin, CPU) as a remixer. The record opens with a tour de force, the relentless yet perfectly in control, mutanting and experimental yet elegant and timeless 'Motorik'. In it, you can hear echoes of Detroit groove sense, but also a generous splash of dub sonics seamlessly merging into pure peak time, closed eyes, layers of ear-candy hypnotizing you type of stuff. Things strip back a little in 'Emergence Dub' - still immersive fast techno ammunition, but there is a playful, experimental and sometimes ravey spirit to it, with a wonky mutating key, vocal pads and cheeky percussion working together to create a stunning modern dance piece. Side B is inaugurated by 'Origins', a deep bow to dub traditions with delay-drenched stabs and a bouncy bassline for days. An energetic yet dreamy piece with spoken word samples that will have your heart melt, it perfectly mirrors the duo's influences in a beautiful closing original. Annie Hall steps in for the remix, taking A2 'Emergence Dub' into Breaks geographies, with a talking bassline fit for an electro banger, and the ever-present pads sending us off in zen mode after a delightful ride.

The Reflex has been back remixing on his multitracks again and if you have been out anywhere decent in recent times you might already have heard this one as it has been a favourite of those DJs in his inner circle. Finally, the unrelated rework of a legendary disco diva arrives on wax and dazzles from front to back. 'Lolita' has it all - the deft hi hats sliding above funky bass, a rhythm driven by busy piano chords and lung-busting vocal full of burning soul. 'Camels' rides funky, chunky drums and has more expressive tones this time in unison with an off-balance chord sequence and fluttering sax. Lovely stuff.

Ja:ck is an artist who moves beyond fast-paced trends, focusing instead on a clear, driving vision. His releases on the renowned label Cocoon Recordings represent an uncompromising sound that balances hypnotic techno and energetic club dynamics. With a keen sense of tension and atmosphere, he has developed a signature style over the years that works as effectively on large floors as it does in intimate sets.
His new track, Dinamo, perfectly encapsulates this energy: pulsating, powerful, and precisely crafted. The track builds with subtle intensity before erupting into a forceful, captivating movement designed for the peak time.
Notably, Ja:ck has been supported for years by techno icon Sven Väth, who consistently integrates Ja:ck's sound into his sets. This ongoing backing underscores not only the quality of his productions but also his relevance within the international scene. With Dinamo, Ja:ck delivers another clear statement: raw, direct, and absolute club material.
The Oliver Keim remix of Ja:ck’s Dinamo translates the original track into a clean, stripped-back club aesthetic with a steadfast focus on groove and energy. From the start, a driving flow emerges: precise, dry drums meet a deep, rolling bassline that constantly pushes forward. The arrangement remains intentionally minimalist, yet leaves enough room for subtle details to unfold and build tension. Finely placed breaks provide dynamics without losing momentum, leading back into powerful, controlled drops.
The remix eschews clutter, relying instead on clarity, punch, and timing. This makes it versatile enough for both intimate club settings and larger floors, fitting seamlessly into Tech House, Melodic Techno, or driving House sets. It is a modern, functional remix—minimalist in sound, powerful in impact, and strictly geared toward the dancefloor.

Ja:ck ist ein Künstler, der sich jenseits schneller Trends bewegt und stattdessen auf eine klare, treibende Vision setzt. Seine Releases auf dem renommierten Label Cocoon Recordings stehen für kompromisslosen Sound zwischen hypnotischem Techno und energetischer Club-Dynamik. Mit einem feinen Gespür für Spannung und Atmosphäre hat er sich über die Jahre eine eigene Handschrift erarbeitet, die sowohl auf großen Floors als auch in intimen Sets funktioniert.
Sein neuer Track Dinamo bringt genau diese Energie auf den Punkt: pulsierend, druckvoll und gleichzeitig präzise ausgearbeitet. Der Track baut sich mit subtiler Intensität auf, bevor er sich in eine kraftvolle, mitreißende Bewegung entlädt, gemacht für die Peak-Time.
Besonders bemerkenswert: Ja:ck wird bereits seit Jahren von Techno Ikone Sven Väth unterstützt, der seinen Sound immer wieder in seine Sets integriert. Diese kontinuierliche Rückendeckung unterstreicht nicht nur die Qualität seiner Produktionen, sondern auch seine Relevanz in der internationalen Szene.
Mit Dinamo setzt Ja:ck ein weiteres klares Statement : roh, direkt und absolut clubtauglich.

German Text:
Der Oliver Keim Remix von „Dinamo“ von Ja:ck übersetzt den Original-Track in eine klare, reduzierte Club-Ästhetik mit konsequentem Fokus auf Groove und Energie.
Von Beginn an entsteht ein treibender Flow: präzise, trockene Drums treffen auf eine tiefe, rollende Bassline, die sich konstant nach vorne bewegt. Der Aufbau bleibt bewusst minimalistisch, lässt aber genug Raum für subtile Details, die sich im Verlauf entfalten und Spannung erzeugen. Fein eingesetzte Breaks sorgen für Dynamik, ohne den Drive zu verlieren, und führen kontrolliert zurück in kraftvolle Drops.
Der Remix verzichtet auf Überladung und setzt stattdessen auf Klarheit, Druck und Timing. Dadurch funktioniert er sowohl in intimen Clubsettings als auch auf größeren Floors und lässt sich vielseitig zwischen Tech House, Melodic Techno und treibenden House-Sets einsetzen.
Ein moderner, funktionaler Remix, reduziert im Sound, stark in der Wirkung und konsequent auf den Dancefloor ausgerichtet.

A Good Year - Play. Driving through the country. Tender anthemic voices. Real sounds and synthetic sounds. Baggy drums. Acoustic guitars, bass drops, big and small, Moody. A Good Year is a collaboration between producer and former Liss drummer Tobias Laust Hansen and filmmaker-turned-musician Albert R. Hildebrand. Featuring: Horse Vision, Koilwood, Tiffi M, Quiet Light, Late Verlane, Alba Akvama, Suisse Air and MØ

DJ Support: Damian Lazarus, James Zabiela, Chloé Caillet, Luke Slater, Solomun, Huxley, Peggy Gou, Alan Fitzpatrick, TSHA, Mat.Joe, Eliza Rose.

It’s been a standout year for X & Ivy following the release of “Let The Bass Kick” on Forever Days. The duo have earned support from heavyweights including Peggy Gou, Todd Edwards and DJ Tennis, with their Chic-sampling club weapon lighting up dancefloors worldwide all summer.

Now, they hand the reins to DJ/producer Jennifer Loveless, who flips “Let The Bass Kick” into a fresh, forward-thinking rework built for the dancefloor.

2026 Repress

COEO are to Toy Tonics records, what Master at Work were to the House scene of the 1990ies: They bring the Soul into the House. Their new EP Back In The Days' is a 4 track house stomper that could have been made in 1997 by guys like Sneak, Dimitri from Paris or Little Louie. But still the similarities to the new Berlin Sample-House scene around Max Graef and Hodini are evident, too. Already their last years' superhit NATIVE RIDDIM (which is featured as a bonus track on this vinyl) included some heavy jazz samples they found in their parents' bag of soul. Native Riddim has been no.1 in the Traxsource charts for several weeks and was the basis for their already huge following. From Laurent Garnier to Tensnake - the feedback has been awesome. Now they proceed their way of souldful house. Just good taste.

Rising star Storm Mollison lands her debut on Heist with an ep blending House & R 'n B and we're completely hooked.

The future is looking bright for Storm Mollison - Heist's newest. Marked as artist to look out for by Shazam on their fast forward 2026 list, Storm's got a bright and busy year ahead, after an already big 2025. Last year alone, she featured on Kiki's hit 'Getting ready for the party', featured on a Mixmag London event and a Raw Cuts X Heist ADE party, had her first cover feature on Spotify, multiple radio 1 appearances, released several singles, a full EP on Noir Fever and a Luuk van Dijk remix.

If that's not enough to get you excited, we suggest you just listen to her 'Act like that' EP on Heist. In Storm's own words: "it's the most exciting music I've made so far" and we couldn't agree more. Her EP is a perfect blend of her love for house music and soulful R 'n B with its 4 tracks smothered in deep chords, smooth vocals and crunchy textures.

EP opener 'Doing Sumthin'' has been a staple in Dam Swindle's sets ever since receiving Storm's first demo and has never failed to make the crowd bounce from left to right with its quirky and equally cool vocal courtesy of Aaron Pfeiffer. Sometimes, you just need someone to tell you which way to move and before you know it, the whole club is doing it. The beat is chunky, and the sax lick is a nice wink to the old school house that has influences Storm's sound so much.

Act Like That - the EP's title track -, is a modern R' n B song that could have easily been on Rochelle Jordan's latest album. The lyrics are perfectly delivered by Storm herself and celebrate women who stand up to unreliable men. It could well be the badass soundtrack of womanhood for 2026 delivered in a silky-smooth package that'll live rent-free in your head for the foreseeable future.

On the flipside is "Gotta Go', an undercover dancefloor burner with lush keys and a lean-back groove. The track relies on crisp textures and little frizzles all throughout the track, with a big breakdown for ultimate release.

Ep closer 'Workin' takes us back into R 'n B territory, this time in a very danceable form. Storm's soft vocals lie on top of a steady beat with deep chords and a bassline so sexy It'll make you get down no matter where you're hearing this.

It's hard to speak about a breakthrough for an artist that has already seen such a rise in the scene, but if we're talking about her music, this will be the record that people come back to after years and say, "remember when she releases ALT!?"

As always, enjoy the music and play it loud!

Yours, Maarten & Lars

Mathias Kaden announces the ‘Three Decades’ LP on Rekids, releasing 3rd April 2026, with single ‘Fyutr’ featuring Zoë Xenia and a remix from the legendary Dennis Ferrer available now. His third full-length, following 2009’s ‘Studio 10’ on Vakant and 2015’s ‘Energetic’ on Freunden Am Tanzen, ‘Three Decades’ spans nine tracks and celebrates Kaden’s 30-year career as one of Germany’s most enduring House and Techno figures.

The ‘Three Decades' album opens with a title intro, in which Mathias Kaden expresses gratitude to those closest to him before moving into his signature deep, emotive House sound. Tracks like ‘Keep Balance’ set the tone with sub-heavy bass and crisp, driving drums, occasionally punctuated by vocal snippets, while ‘I Got You’ features Cassy for a high-energy, soulful dancefloor moment. Reminiscent of Kaden’s work as Mathimidori, the dubbiness of ‘Getting Closer’ sets the stage for ‘Inner Signal’, which leans into wiggy electro territory, before the second record shifts gears with ‘Next Wave’ and ‘Shelter’, returning to pacey, piano-fuelled rave energy.

‘Viral’ follows with tough drums and excellent stab work, before the album closes on ‘Fyutr’, Kaden’s collaboration with Zoë Xenia, already supported by Honey Dijon, DJ Deep, Laurent Garnier, and more. Active since the mid-90s, Mathias Kaden quickly became one of the artists at the forefront of Germany’s flourishing rave scene. He began releasing music in the early 2000s, first collaborating with Marek Hemmann on a series of EPs for Freude Am Tanzen, before establishing himself as a solo artist with more than two dozen EPs on labels including Desolat, Watergate Records, Pets Recordings, Diynamic, Ovum, and Cocoon. Since first appearing on Rekids in 2019 with the ‘Control Your Mind’ EP, Kaden has released multiple projects on the label and remains a regular contributor to its catalogue.

Alongside his own productions, he has remixed artists such as DJ Koze, KiNK, Monika Kruse, Trentemøller, and Sven Väth, while under his Mathimidori alias, he has explored more spacious territory with releases on Mule Musiq, Ornaments, and Freund der Familie, including an additional album, ‘Akebono’, on Echocord.

Restock

Collateral Intelligence's Butterflies in Funerals is widescreen, sometimes dark, often hopeful electronica with one eye on the stars, but grounded in the sheer cathartic necessity of its creation.

The new moniker from Maltese wunderkind Neil "Acidulant" Hales, the album was formed during a turbulent period in the artist's life, when his father was seriously ill in hospital. Butterflies in Funerals is his way of expressing the complexity of emotion he was going through at the time.

"To me it all looked like a very dark movie," he says. "That's why the tracks are are at times cold or have a sad, emotional, or hopeful feeling."

Drawing on his impressive background in acid house and electro – with releases on Balkan Vinyl and Jack Trax – the album takes in mutant breakbeat, battle-scarred ambient, and tripped out 303 grooves, but pushes his sound further and deeper than ever before.

The album cover features specially designed artwork by rising star Fei Meng, who will be exhibiting at the Royal Society of British Artists later this year.

So in 2021 join Collateral Intelligence on a journey into the recesses of the soul, and emerge, purified, and ready for the rest of the trip.

Soul Direction presents the second instalment of unissued tracks from the writer and composer behind the music of 70s group Legacy.
These two tracks came from two master tapes, and after further conversations with Eddie, he shared: “The lead vocals on Love Is Hard to Find were Delbert Nelson (who also
performed some backing vocals for The Funk Brothers) and me, Eddie Watkins Jr.” Eddie is also the lead vocalist on “Did You Notice” (I Used to Love You.)

As with the band’s 2023 release of the same name, Refreshing Part 2 is a decisive and fierce collection of percussive techno that nonetheless travels its path with a heightened level of funkiness.
The Italian duo describe the concept behind this collection as being “not about resetting, but about balancing. Refreshing means reconnecting with the present and with the future…focusing on one’s own way in order to prevent the flow from becoming automatic, uncontrolled, and
without orientation. It is more a direction than a path.”
The four tracks on the 12” are hypnotic dives into a full spectrum of club music: the rhythms and sound design guiding the subconscious into visions of past, present and future intermingled, a reminder that all moments co-exist simultaneously.
Side A passes from the stripped-down intensity of The Way through to Elisir (Elixir), which manages to pull off a trick of feeling light and floaty while maintaining the power of its predecessor. The flip side opens with the forceful drive of Activate before making way to the
percussive elasticity of Family Tree, a track which closes out the EP by recalling, in both name and sound, how that which came before deeply affects the now, though often in ways only subliminally perceived.
Digital-only track Fixed in Flux continues this concept, and the overall themes of Refreshing Part 2, with further evocations of intent and movement; remaining present in change, without resisting it, yet without dissolving into it.

Timm Sure & Richard Hampson should need no introduction.

Their output is prolific - with their own releases under the COYOTE moniker, as well as their work with other artists on their record label IS IT BALEARIC?

As huge fans of their work and label, we were flattered when they rang and expressed an interest in working with us. The product of this glorious new friendship is a truly exciting and unique sonic experience — one that is comprised of 7 proper tracks laced seamlessly together with African spoken word.

The word Nyabinghi (or Nyabingi) refers to a legendary woman of the Bahororo tribe of Uganda, whose name means "mother of abundance" or "the one who possesses many things" in the Mpororo language.

The 12 tracks of NYABINGHI ebb and flow between prose and melody, putting you into an almost trance like state - the sum of the parts at once meditative yet funky, evocative and spiritual, yet perfect to get people's feet moving at sunset.

Little is known about Em Vee, the elusive German editor and producer whose dusty vinyl crates have unearthed some of the most coveted disco and boogie reworks of the last decade. Born somewhere between the fading echoes of Berlin’s underground clubs and the hidden record shops of Hamburg, Em Vee’s story is as much about myth as it is about music.

From the funk fuelled hands in the air love bomb of Where Is The Love to the arms embracing body jam of Body to Body. On the flip the heavy disco balearic boogie monster, All Night Long takes it up a few gears before the rounding the EP off with the dramatic closer, Pleasure Island. Em Vee delivers an outstanding EP that covers all bases, that will no doubt appeal to late night disenfranchised Disco fiends.

Early support by Gerd Janson, Moxie, Tim Sweeney, James Zabiela, Prins Thomas

Berghain’s Panorama Bar resident and Love On Rocks founder, Paramida delivers her take on Deep Dish’s classic ‘Say Hello’.

For the Lisbon based, international superstar DJ and producer, it’s a full-circle moment. As a teenager living in Tehran, she listened to “Say Hello” on her daily car rides to and from an internship at an Iranian newspaper while attending a German school.

Paramida explained the remix idea came together very quickly, in a single take, with everything falling perfectly into place.

An essential remix that is sure to be played everywhere from sweaty basements to festival throughout the Summer.

Daybreakers keep it rolling in 2026 after two essential Vick Lavender samplers, this time back east with some DATs from the Jersey boys “Raw Tunes” Little to nothing is known about those two. We will keep it that way and let the music do the talking.

Medlar sends us a less anonymous remix straight from the Cayman Islands too... Hard hitting deep house perfect for the peak time, What more do you expect from us at DAYBREAKERS?

Buy or cry.