Cerca:chic

Lee Humphreys and Evasive head honcho Rob Pearson returned to the imprint for their 2nd EP together as Lovable Rogues. This followed on from their first collaboration which launched Evasive Records : Look Into Your Eyes / Chica / Twilight Manouvres (EVA001)

For this Ep Rob travelled out to work with Lee in the depths of the German countryside at Lee’s Tofu Studios. EVA003 delivered 3 more tasty underground cuts for main floors and urban warehouse spaces and pleased all the right DJ movers and shakers in the year 2000. It now finds favour in 2024 with Tech House connoisseurs hungry for that early South London Tech sound.

Time Zones delivers some peak time twisted year 2k Tech. Swirling ear candy synths and tripped out almost acidic twangs are the order of the day. A head nodding bass combines with the filtered and sample triggered vocal phrase ‘Eternal Energy Music’. As if the production pair were indeed clairvoyants able to look ahead and prophesize the future state of underground dance floors some 20 years later! This cut has since become a classic requested early noughties gem for those in the know.

On ‘Integer’ Lee Humphreys rides solo to showcase his unique talent and slick production sound. Driving filtered percussion elements and an infectious bass combine with ‘Body Grooving’ vocal cuts and eerie reverse synths and sounds. Lee basically hit this track out of the park here so Rob had no choice but to request this cut and it was snapped up for the EP.

‘Thursday’ see’s Rob & Lee back on the joint production for some Tech Funk shenanigans that are ‘sure to get you high’. Not sure what Mr Humphreys was on to allow Rob to play the lead keyboard solo on this funk fuelled excursion but it stills sounds fresh over 2 decades later.! A very different vibe that has not been equalled or surpassed on Evasive since.

Patchwork Inc. is a multi genre music collective based in Chicago. Inspired by the intricate and repetitive patterns on a quilt, deep grooves are stitched together with vibrant threads of analog synths, fat bass, Fender Rhodes, and a plethora of percussion to form a uniquely personal piece of art.

Their latest offering, Michael Damani’s "It’s Just The Rain," is officially getting the vinyl treatment. This special release features a fresh remix by Little Rocker on the A-side, backed by an immersive Dub Version on the B-side—a must-have for collectors and audiophiles alike.

Limited to 500 units.

"I think I have never met anybody, with the exception of Brazilian guitarists Baden Powell and Toquinho, as connected to his instrument as Agustín Pereyra Lucena" – Vinicius de Moraes

Far Out continues its exploration into the singular catalogue of Argentine guitarist and songwriter Agustin Pereyra Lucena with a special Record Store Day edition of his most celebrated album Ese Dia Va A Llegar.

Agustín Pereyra Lucena was one of South America’s outstanding guitarists. Hailing from Buenos Aires but obsessed with the music of neighbouring Brazil, Agustin abandoned his architecture studies to pursue music full-time, earning friendship and collaborations with Brazilian music's greatest figures including Vinicius de Moraes, Baden Powell, Toquinho, Dorival Caymmi, Maria Bethania and Chico Buarque.

Originally released in 1975, the album has been better known in some parts of the world as Brasiliana – a title repurposed by Agustín's European record label in the 70s to exoticize the sounds of South America for the continental market. It finds Agustin and band—which includes key collaborators Guillermo Reuter on contrabass, and Carlos Carli on drums and percussion— at their most blissfully laid back. The album features idiosyncratic renditions of classics by Antonio Carlos Jobim, Vinicius de Moraes, João Donato and Agustin’s personal hero and friend Baden Powell, alongside Agustín's own works which ooze with captivating mystical wonder.

The analog warmth of the recording is such that it feels like you’re there in mid-seventies Buenos Aires, on a balmy late night session at Estudios Audión, with a group of phenomenally impressive musicians. The heat generated is offset only by the cool temperament of everyone involved. On the handful of vocal tracks on the album, Agustin’s gentle voice is responded to by the liquid smooth vocals of Laura Hatton, Luis Maria Cosenza and Patricia Scheuer.

Agustin’s unique position in the annals of his continent’s musical history has been lovingly maintained by Agustin’s nephew Jose Luis Pereyra Lucena, who has entrusted Far Out Recordings to preserve and re-release Agustin’s works. The music has been professionally remastered at London’s Metropolis Studios, using multiple copies of well kept original vinyl.

Reissued worldwide for the first time under its original title and cover as Agustin originally intended, Ese Dia Va A Llegar will be presented in a limited edition obi-stripped gatefold replica sleeve.

This relatively new Stockholm duo have been making waves with their latest vinyl output. This EP conveys their love for the disco house sounds of Chicago, spearheaded by the likes of DJ Sneak. ‘Spoon Bait’ leads the way using an almost dreamlike vocal hook over a deep bass led groove with dub effects to boot. ‘Tuborg Translate’ picks up the tempo, chopping up a Philly style hook, underpinned by crisp beats and otherworldly space effects. Title track ‘Silja Line Superstar’ keeps the peak-time action going utilising warm emotive strings and brass whilst ‘Kenneth Knaster’ bounces along on a sublime disco ride bringing the EP to a close.

Born from a demo session originally recorded in 2011, “I Like” finally came to life when Daniele “Shield” Contrini and Piero Pirupa reunited in late 2025 to complete the track, transforming an early idea into a powerful new collaboration featuring two legendary voices of house music: The Egyptian Lover and Paris Brightledge.

Daniele “Shield” Contrini, founder and creative force behind Rebirth Records, joins forces with globally respected DJ and producer Piero Pirupa to deliver a record designed to fire any dancefloor.

Blending Italo disco influences, classic house grooves and a powerful bassline, “I Like” carries a warm, uplifting energy while paying tribute to the golden era of club music. The track is driven by the unmistakable vocal presence of The Egyptian Lover, the pioneering American artist, producer and DJ Greg Broussard. Widely recognized as one of the architects of West Coast electro and early hip-hop, he helped shape the sound of 1980s Los Angeles electronic music through his groundbreaking use of the Roland TR-808.

Adding further depth to the record is the distinctive voice of Chicago house legend Paris Brightledge, whose haunting and melodic tone became iconic through classics such as “It’s Alright” and “Paris Dub 1”. Over the years he has collaborated with some of the most important names in house music including Joe Smooth, Frankie Knuckles, Marshall Jefferson, Ron Hardy, Mike Dunn, Farley “Jackmaster” Funk and Byron Stingily, while also appearing on projects with Pet Shop Boys, Paranoid London and Groove Armada.

With its blend of electro heritage, Chicago house soul and contemporary club production, “I Like”connects different generations of dance music in a single record, a collaboration that bridges eras, styles and scenes. Set for an official release on 22nd May, the track marks another chapter in the label’s ongoing story and its commitment to celebrating the roots of club culture while pushing it forward.

For his sixth solo album, Ezéchiel Pailhès returns with a new collection of songs infused by a sunny wandering spirit.
Within each of the twelve songs on SOL is a thread of melancholic happiness that has permeated much of Pailhès’ music and songwriting. He addresses love, the passing of time, hope, lost illusions, fleeting moments of grace, the temptation of forgetting, a need to escape, and desire. All this is
insulated by understated orchestrations that blend acoustic and electronic instrumentation with deft confidence.
The Portuguese and Brazilian concept of saudade—a form of melancholic longing and nostalgia— pervades, thanks in part to Pailhès decision to record the album in Rio de Janiero and to reinterpret some of the finest works of Música Popular Brasileira (MPB). In particular, he revisits a handful of
lesser known classics from the mid-century samba and bossa nova era—originally written or performed by talents including Vinícius de Moraes, João Gilberto, Tom Zé, Dorival Caymmi, João Donato, Os Tincoãs, and Ataulfo Alves.
The shift from Brazilian Portuguese to French and the decision to adapt rather than perform a straightforward cover versions, allows Pailhès to invent a form of prosody and euphony (the musicality and harmonious combination of words) that feels vibrant and unlike anything else in today’s French
chanson landscape.
“Some lyrics are simple translations from Portuguese, in what I’d call an expanded version. For others, I started from a single word or a single phrase and embroidered an entirely new text that carried me elsewhere,” explains Pailhès. “I allowed myself great interpretive freedom, while preserving the humanist dimension of the original songs. I’ve always been deeply moved by the way Brazilians transfigure reality through heightened emotion. I love this visceral and spontaneous country, which always seems to live through emotion. And above all, I love its music both popular and unifying,
bringing together all social classes. In that sense, it’s very political music, but even more so utopian, made by the people and for the people.”
On this new album, however, the French artist was keen to avoid cliché. Each song is therefore built around a carefully balanced interplay between Pailhès’ piano and synthesizers, alongside restrained arrangements of percussion, brass, bass, and cavaquinho (a small four-string plucked guitar). These parts were recorded in Rio de Janeiro with two musicians who regularly perform alongside the legendary Caetano Veloso—Kainã Do Jêje and Alberto Continentino—joined by Thomas Harres, Antônio Neves, Eduardo Neves, and Gabriel Loddo.
Since the 1960s, France and Brazil have shared a long-standing cultural and musical relationship. Some Brazilian artists, most famously Gilberto Gil, took refuge in France during the dictatorship years (1964–1985). But above all, French chanson quickly fell in love with the richness and ingenuity of
bossa nova and samba, translating and reinventing them in the language of Molière. Throughout the 1960s and 1970s, albums and hits by Henri Salvador, Georges Moustaki, Pierre Barouh, Pierre Vassiliu, and Claude Nougaro all drew from the MPB repertoire.
Fifty years later, with SOL, Ezéchiel Pailhès reinvents this rich Franco-Brazilian musical legacy, bringing to it a personality and modernity that stand confidently alongside those of his forbears.

Als MONO ihr vorheriges Album OATH 2023 gemeinsam mit ihrem langjährigen Produktionspartner und Freund Steve Albini aufgenommen hatten, konnten sie sich nicht vorstellen, dass es das letzte Studioalbum sein würde, das sie zusammen machten. Albini starb im darauffolgenden Jahr tragisch, und dieser Verlust hinterließ eine unermessliche Leerstelle - nicht nur im Leben all jener, die Steve persönlich kannten, sondern bei jedem, der eine emotionale Verbindung zu einem der Tausenden von Alben hat, an deren Entstehung er in den vergangenen vier Jahrzehnten beteiligt war. Er brachte Klarheit in das Chaos und eine selbstlose Hingabe an die Kunst und die Künstler, die ihresgleichen suchte. Auf persönlicher wie auf praktischer Ebene stellte sein Tod MONO vor tiefe Trauer und große Unsicherheit. Albini war zu einem grundlegenden Bestandteil des unverwechselbaren MONO-Sounds geworden, und allein der Gedanke daran, ihn ersetzen zu müssen, war mehr als entmutigend.Und dann kam: Brad Wood (Touché Amoré, The Smashing Pumpkins).Ausgewählt aufgrund seiner Vertrautheit mit MONOs kreativen und technischen Arbeitsprozessen - ebenso wie seiner jahrzehntelangen Freundschaft mit Steve Albini - betrat Brad Wood im September 2025 das legendäre Electrical Audio Studio, um aufzunehmen, was schließlich zu Snowdrop werden sollte. Gemeinsam mit dem in Chicago ansässigen Dirigenten und Orchesterleiter Chad McCullough verpflichteten MONO ein zehnköpfiges Orchester und einen achtköpfigen Chor für die acht monumentalen Stücke, aus denen Snowdrop besteht. Die Band spielte, und Wood nahm in demselben heiligen Raum auf, in dem die meisten MONO-Alben ihrer 25-jährigen Geschichte entstanden waren - die Songs auf Snowdrop tragen daher ein besonderes Gewicht. Abgemischt wurde das Album von Wood in seinem Seagrass-Home-Studio in Los Angeles; es klingt zugleich intim und umhüllend.Wo leicht ein Schatten über Snowdrop hätte liegen können, findet sich stattdessen eine außergewöhnliche Atmosphäre der Dankbarkeit. Statt in Herzschmerz zu verweilen, entsteht eine eindringliche Wertschätzung für das gut gelebte Leben mit einem geliebten Freund - und eine Sehnsucht danach, was noch kommen mag. Snowdrop ist der Klang einer Band, die Schock und Trauer in Hoffnung und Staunen verwandelt - und neue Klarheit im befreienden Gefühl des Nichtwissens findet.

Als MONO ihr vorheriges Album OATH 2023 gemeinsam mit ihrem langjährigen Produktionspartner und Freund Steve Albini aufgenommen hatten, konnten sie sich nicht vorstellen, dass es das letzte Studioalbum sein würde, das sie zusammen machten. Albini starb im darauffolgenden Jahr tragisch, und dieser Verlust hinterließ eine unermessliche Leerstelle - nicht nur im Leben all jener, die Steve persönlich kannten, sondern bei jedem, der eine emotionale Verbindung zu einem der Tausenden von Alben hat, an deren Entstehung er in den vergangenen vier Jahrzehnten beteiligt war. Er brachte Klarheit in das Chaos und eine selbstlose Hingabe an die Kunst und die Künstler, die ihresgleichen suchte. Auf persönlicher wie auf praktischer Ebene stellte sein Tod MONO vor tiefe Trauer und große Unsicherheit. Albini war zu einem grundlegenden Bestandteil des unverwechselbaren MONO-Sounds geworden, und allein der Gedanke daran, ihn ersetzen zu müssen, war mehr als entmutigend.Und dann kam: Brad Wood (Touché Amoré, The Smashing Pumpkins).Ausgewählt aufgrund seiner Vertrautheit mit MONOs kreativen und technischen Arbeitsprozessen - ebenso wie seiner jahrzehntelangen Freundschaft mit Steve Albini - betrat Brad Wood im September 2025 das legendäre Electrical Audio Studio, um aufzunehmen, was schließlich zu Snowdrop werden sollte. Gemeinsam mit dem in Chicago ansässigen Dirigenten und Orchesterleiter Chad McCullough verpflichteten MONO ein zehnköpfiges Orchester und einen achtköpfigen Chor für die acht monumentalen Stücke, aus denen Snowdrop besteht. Die Band spielte, und Wood nahm in demselben heiligen Raum auf, in dem die meisten MONO-Alben ihrer 25-jährigen Geschichte entstanden waren - die Songs auf Snowdrop tragen daher ein besonderes Gewicht. Abgemischt wurde das Album von Wood in seinem Seagrass-Home-Studio in Los Angeles; es klingt zugleich intim und umhüllend.Wo leicht ein Schatten über Snowdrop hätte liegen können, findet sich stattdessen eine außergewöhnliche Atmosphäre der Dankbarkeit. Statt in Herzschmerz zu verweilen, entsteht eine eindringliche Wertschätzung für das gut gelebte Leben mit einem geliebten Freund - und eine Sehnsucht danach, was noch kommen mag. Snowdrop ist der Klang einer Band, die Schock und Trauer in Hoffnung und Staunen verwandelt - und neue Klarheit im befreienden Gefühl des Nichtwissens findet.

Australia's Dancing in Space crew have thus far kept their vinyl releases to a minimum, reappearing every so often with a fresh batch of their own excellent disco edits. Here they try something different, delivering a typically assured two tracker from one of the most talented and productive scalpel fiends in the business, Chicago scene stalwart Rahaan. A-side 'Allright' is a typical Rahaan rub, with the talented re-editor skilfully rearranging and lightly dubbing out what sounds like a turn-of-the-80s fusion of classic disco, synth-splattered boogie and soaring jazz-funk. On 'My Strategy', he successfully breathes new life into an old Philadelphia International favourite, opting for a largely instrumental extension that subtly pitches the track up, tempo wise, for greater dancefloor pleasure.

BASIC - das Trio aus Chris Forsyth (Gitarre), Mikel Patrick Avery (Percussion, Drumcomputer, Elektronik) und Douglas McCombs (Fender Bass VI) - hat sein neues Album mit sieben Titeln innerhalb von zwei Tagen in den Electrical Audio Studios in Chicago aufgenommen und die Overdubs sowie den Mix zusammen mit Je Zeigler in Philadelphia fertiggestellt. Die Aufnahmen sind groovig, aber leicht und locker, wobei die Songs viel größer klingen, als man es von einem Trio erwarten würde. Für reichlich Detail sorgen die ineinandergreifenden Gitarren und Averys einzigartige Kombination aus elektronischen Beats und akustischer Percussion, die er live mit verschiedenen selbstgebauten elektronischen Prozessoren bearbeitet und manipuliert. Kurz nach der Veröffentlichung ihres Debüts (This Is BASIC, 2024) stieß Bassist McCombs (Tortoise, Brokeback) zu der Gruppe, und zusammen mit den in Philly ansässigen Kernmitgliedern Forsyth (Solar Motel Band) und Avery (Natural Information Society) tourte die Band mit dem Album die Westküste rauf und runter sowie durch den Nordosten und Mittleren Westen der USA und machte Halt bei einflussreichen Festivals wie Sound & Gravity und Big Ears. Die Chemie zwischen den dreien führte fast sofort zur Entwicklung von neuem Material, und die ,Dream City"-EP erschien im Frühjahr 2025.

As the so-called “Latin boom” becomes a new anchor for hard-swung club sounds, it is crucial to recognize that the region’s musical culture extends far beyond dembow edits and the pop-trap hybrids that have edged into the mainstream. Monterrey-born, New York City-based producer and DJ Delia Beatriz, aka Debit, returns to NAAFI with Potpourri, a generous and kinetic collection of dancefloor-oriented tracks filled with percussive flourishes, squelching 303 basslines, and rhythmic mutations that actively challenge the status quo. Rather than rebuilding “Latin sounds” as a fixed category, the album rethinks their internal logic, tracing the evolution of techno and house in cities like Detroit, Chicago, and New York alongside parallel innovations emerging in Mexico, Colombia, and across the wider Latin world. Positioned on the bridge between Mexico and the US, Potpourri does not seek synthesis as a gesture of smooth fusion, but as a site of disruption.

The album can be heard as a loose follow-up to System (2018), Debit’s NAAFI-released EP that expanded the sonic potential of tribal guarachero through triplet-driven rhythms, industrial pressure, and noisy reconstruction. Potpourri retains guaracha as a structural backbone while drawing further influence from veteran DJ and producer Javier Estrada—who also appeared on System—and particularly from his fast-paced, nonlinear style of mixing. That approach becomes a formal principle here: canonical structures are dismantled, repetition is avoided, and tracks evolve without sacrificing propulsion. Coming after the introspective temporal inquiry of Desaceleradas and the speculative historical acoustics of The Long Count, Potpourri arrives as a deliberate surge of energy. As Beatriz explains: “It’s a manifesto for rethinking form and sound in dance music. By stepping outside traditional structures and embracing the potpourri approach, I’m creating new meaning with familiar rhythms. I’ve also been applying this to my DJ sets, using it as a tool to break free from established norms and explore new narrative possibilities.”

Years in the making, Potpourri imagines an alternate timeline in which the psychedelic squelch of acid—echoing pioneers such as DJ Pierre and Mr. Fingers—and the dub-inflected atmospheres of Basic Channel entered into direct and sustained contact with Latin American club mutations. Those references are legible, but never merely quoted. Instead, they are folded into syncopated hi-hats, overdriven kicks, and unstable arrangements that absorb both the intensity of the parties Beatriz remembers from Monterrey and the abrasive edge she sharpened at DIY noise shows in New England. The result is unmistakably a dancefloor record—heard in tracks as forceful as “Pero like” and the peak-time pressure of “tuvesuerte”—but one saturated with grotesque, psychedelic atmospheres, where sounds dissolve into hoarse croaks, acidic smears, and anxiety-inducing growls. Here, the rave becomes not simply a site of release, but a platform for navigating identity, hybridity, and artistic formation across borders. Moving through peaks and ruptures, Potpourri reveals a party narrative that is not linear but multidimensional.

By folding together the fluidity of DJ culture, the experimental charge of acid, and the rhythmic vitality of guaracha, Potpourri proposes a space of formal and political innovation within Latin America’s rapidly expanding electronic music landscape. It is a record that refuses containment, pushing against the templates through which Latin electronic music is often consumed, and insisting instead on friction, instability, and transformation as generative conditions for the dancefloor.

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.

Parisian house priestess SERIOUS A makes her STARCREATURE/GLOBAL CARESS debut with a deeply dreamy 7". This record finds Chicago somewhere between Detroit and Vancouver as an ethereal strand of synths and funky hypnosis. Highly serious, highly fun tracks to make you bounce

Mit gerade mal 17 Jahren releaste Joey Bada$$ sein erstes Mixtape "1999" welches den Sound der goldenen Hiphop-Ära der 90er Jahre adaptierte, so authentisch und selbstverständlich als sei er mit dabei gewesen.
Die Kritiker überschlugen sich in ihren begeisterten Rezensionen und es folgten Features mit Asap Rocky, Kendrick Lamar, Mac Miller & Action Bronson. Der junge Brooklynite ist schon längst mehr als nur ein Geheimtipp. Die ersten audiovisuellen Kostproben gab es in den vergangenen Monaten in Form von "Big Dusty" und "Christ Conscious". Am 20. Januar erscheint nun sein Debütalbum, das den Titel "B4.DA.A$$" trägt.

NO “ORDINARY JOE”!!! Our finest double-hearder ever… TERRY CALLIER was born in Chicago in the shadows of Curtis Mayfield, Major Lance,Ramsey Lewis and his mentor Jerry Butler. He would become one of the greatest Soul/Jazz voices of all time, although he barely new it in his own lifetime. Both his debut album, ‘The New Folk Sound’, and single, “Look At Me Now” had failed commercially when he was contracted by JERRY BUTLER to his Songwriters Workshop. It was here that he wrote his timeless masterpiece “Ordinary Joe” which first appeared on Butler’s 1970 Mercury album ‘You & Me’. Butler’s version of the song has been largely overlooked, underrated and undervalued, until now, 50 years on when it finally makes its 7-inch single debut! Callier’s definitive rendition of “Ordinary Joe” appeared a couple of years later, in 1972, on the second of his three critically acclaimed Cadet albums ‘Occasional Rain’. The ’72 single was taken from the album and now commands a hefty £700+ price tag.

POMPEII // UTILITY vereint zwei seelenverwandte Rapper von entgegengesetzten Küsten mit dem weltgestalterischen Genie der SURF GANG. Als echtes Doppelalbum – MIKE auf der einen, Earl auf der anderen Seite – entfaltet sich POMPEII // UTILITY durch eine wechselnde Besetzung von Nebengästen und Charakteren innerhalb seines gemeinsamen kreativen Ökosystems. Jadasea, Anysia Kym, Niontay, Na-Kel Smith und Lerado Khalil treten alle auf und durchstreifen die weitläufige Klangwelt des Albums, während im Hintergrund die SURF GANG-Produzenten Harrison, EvilGiane, Elipropperr und Flea Diamonds (mit Unterstützung weiterer Producer) die rauen, dynamischen Beats erzeugen, die dem Album seinen Rahmen geben. Zu den früheren SURG GANG-Produktionen gehören Baby Keem, Kendrick Lamar, A$AP Rocky und Playboi Carti. POMPEII // UTILITY, das nach den 2025er Soloalben beider Rapper erscheint, wirkt wie eine triumphale Ehrenrunde, die ihre über 10-jährige Freundschaft nachzeichnet. Wo ein Rap-Battle sonst Rivalität oder Vergleiche hervorrufen könnte, bietet POMPEII // UTILITY etwas Verwurzeltes und Gemeinsames – ein geteiltes Verständnis von Fürsorge, Freude, Trauer, Verarbeitungsprozessen und Verantwortung gegenüber etwas Größerem. Ein gemeinsamer Release über die jeweiligen Labels der drei Künstler: 10k, Tan Cressida und Surf Gang Records.

Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago's Southside, the place where house music was born. Taking inspiration from Chicago's original pioneers, Larry Heard, Ron Hardy, Lil' Louis, and the like, Glenn has produced many sought after house gems for some of the most well respected deep house labels such as Prescription and Guidance.
The Jerusalem EP's, GU's second album for Peacefrog originally released in 1997 still sounds so fresh, so deep and so soulful. Blending jazz-tinged chord progressions with sax accents, and rolling basslines the album evokes the sound of late-’90s hypnotic Chicago house.
Timeless, quality, underground house music for the mind, the body and especially the soul.

2026 Repress

35th Anniversary Edition of Peacefrog - 2LP Smokey Vinyl

Born and raised in the birthplace of House Music, Paul Johnson was known for his raw, soulful, and infectious sound, that helped shape Chicago's house scene and inspired generations of DJs worldwide in particular he was a massive inspiration to Daft Punk and the 'French Touch' scene. Releasing a vast amount of music throughout the 1990s for some of the most consistently underground dance labels including legendary Chicago imprints Cajual, Relief and Dance Mania he finally gained global fame with his 1999 hit “Get Get Down,” a dancefloor anthem that topped charts across Europe. Despite facing physical challenges, including losing both legs in accidents, he remained an unstoppable force in music—touring, producing, and uplifting others with his resilient spirit and signature groove.
Originally released in 1996 Feel The Music was Paul's second album for Peacefrog Records. Containing some of the classiest house music to hail from the Windy City. Classics such A Little Suntin Suntin , Summer Heat and I Wonder Why will have you smiling while you’re jackin’ and the irresistible and infectious Hear The Music was fthe opening track for Daft Punks legendary Radio 1 Essential Mix.

Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago's Southside, the place where house music was born. Taking inspiration from Chicago's original pioneers, Larry Heard, Ron Hardy, Lil' Louis, and the like, Glenn has produced many sought after house gems for some of the most well respected deep house labels such as Prescription and Guidance.
‘Atmosfear’ Glenn Underground’s debut album was originally released in 1996 and set the standard for sophisticated dance music. Dreamy melodies, heavy bass lines and acid grooves blend beautifully with jazz vibes and Detroit techno. Essential!

Chicago funk/soul band South Side Movement, who began their career as the backing band for the renowned pair Shintek & Wiley known for “Bootleggin,”
released their debut album The South Side Movement (Wand, 1973). From this album comes the enduring classic “I’m Been Watching You”, a track that remains
highly popular among hip-hop listeners—sampled by artists such as Erykah Badu (“Woo”), Ghostface Killah (“Camay”), and Jadakiss featuring Nas (“Show Discipline”).
This new 7-inch release features a special edit by producer/MPC player KOENMA, who digs deep into the analog-born groove and brings a fresh edge to this timeless cut.

Tropidelicos is the electrifying new album from Houston/Denver powerhouse duo Gio Chamba, a kaleidoscopic fusion of cumbia, psych-funk, and global bass. Fueled by hypnotic percussion and cosmic guitar lines , the record embodies the next wave of Latin futurism — rooted in tradition yet exploding into vibrant, genre-defying sound.
Pressed on limited-edition 1×LP “Mango Viper Swirl” colored vinyl, Tropidelicos captures the radiant heat and joy of Gio Chamba’s live energy—music made for movement, community, and spiritual release. From sweaty dance floors to desert sunsets, every groove invites you deeper into the tropidelic revolution.

Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. This first additional EP brings four tracks, by Dutch pioneers Spasms and Random XS, and Chicago heavyweights Mike Dearborn and Gene Hunt. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.

“LET IT SHINE” IS A MIX OF EXPLORATION, LIGHTNESS AND CREATIVE CONNECTION.
THE TITLE “ LET IT SHINE” HOLDS THE ESSENCE OF THE WHOLE PROJECT. IT’S ABOUT TRUSTING YOUR INSTINCTS, BEING OPEN, AND LETTING YOUR OWN SPARK COME THROUGH
NO MATTER WHAT FORM IT TAKES. IT’S AN INVITATION TO LET YOUR TRUE COLORS SHOW TO EXPRESS YOUR ENERGY AND LIGHT WITHOUT HOLDING BACK.
IN A WAY, IT’S A REMINDER TO STOP HIDING BEHIND WHAT’S EXPECTED AND INSTEAD LET WHAT’S TRUE SHINE THROUGH.

Rahaan has become a Chicago legend, a DJ who is widely recognised for his exceptional skills behind the decks and his exquisite taste in music. Lately he has also been earning plaudits for his production skills with some truly outstanding releases. Rahaan has collaborated on a very special release featuring Swiss-born and Italy-raised, Kihmy is an artist and producer who creates nocturnal soul music, where electronic textures and trip-hop atmospheres converge. Her sound lives in the shadows, intimate and cinematic, characterized by a deep and expressive voice and emotionally engaging lyrics.

"Let it Shine" EP released on Soulistic 360 (April 2026). Grab the limited edition vinyl before it's gone!

Parisian label Chuwanaga announces the upcoming release of Inner Circle Vol. 1, the first installment in a series of house music releases bringing together artists from the label’s close circle. Available on limited 12" vinyl (300 copies) and digital.

The VA opens with “We All Got To Feel” by Argentine producer J. Koen (Nervous Records / Nite Grooves), a track that encapsulates the essence of deep house. Classy, colorful stabs, refined melodies, and a warm, funky bassline come together in a club-ready cut. It's exactly what you expect when you need a track that delivers — just drop it.

It is followed by “Sunny California” from French producer Kaffe Crème (Floors Records), an ode to the sun — both a celebration and a form of incantation recalling the spiritual energy of Ron Trent and Joe Claussell. The track builds toward a break filled with deep, jazz-inflected harmonies before returning with an electrifying melody carried by layered percussion, leading to an emotional climax.

On the flip side, “It’s A Feeling (House Music)” by the French duo Milk & Honey (Chuwanaga) draws clear inspiration from the Chicago lineage, in the vein of Boo Williams. A looping bassline, deep silky chords, and steady drums create a hypnotic, flowing texture with a myriad of ear candy. It's a feeling, it's a vibe!

The record closes with “The Gatekeeper” by French producers Saint-James (Chuwanaga) & KX9000 (Pont-Neuf Records), a track influenced by the London boogie sound and its broken beat scene. Fans of Dego and Kaidi Tatham will recognize its syncopated grooves and percussive depth, bridging house and broken beat aesthetics.

Madrid's Jose Cabrera lines up a fresh EP of dreamy Chicago/Detroit-inspired house cuts, featuring a remix from none other than Detroit legend Omar S. TIP!!!

Rarely-seen Delsin alumn Sentomea resurfaces on the M>O>S label with the Wonderment EP, brandishing a blissful quintet of tracks in his trademark style. Inspired by organic textures in sound and image, this release merges distinctive sound-design with raw improvisation and hardware-based live performance. A carefully selected set of tracks takes you along clunky Chicago house sounds, far away echoes from the NWAQ universe and lo-fi Detroit oriented journeys.

This isn’t a compilation—it’s a vinyl conversation between cities, generations, and musical bloodlines. This inaugural release embodies the spirit of collaboration, community, and cross-generational artistry that defines each artist’s deep musical legacy.

A statement on wax bringing together Glenn Underground, Coflo, Jon Dixon, Kevin Reynolds and sillygirlcarmen, this four-song project documents the shared language of five Artists through deep house, jazz roots, and forward-looking soul. Though these artists have shared DJ booths and dance floors around the world, this release marks a rare moment where their creative voices intertwine on wax. Each track stands on its own, but together they form a continuum—past, present, and future etched into wax. Pressed with intention and made for real systems, this release exists for the heads, the selectors, and anyone who still believes vinyl is where the story lives. Meant to be played—not archived. The kind of tracks that feel alive in the room and grow every time you hear them.

‘Ease’ EP tracks:
Glenn Underground ‘Dive (Into The Deep)’; the Chicago legend & Strictly Jaz Unit co-founder combines deep house, freeform jazz & soul, here in a jazz-infused, laid-back, hypnotic melange of house beat, synth chord riff, rippling arps, with a whisper of disco in the bassline and 80’s electro in the high, singing strings.

Coflo x sillygirlcarmen ‘Never Forget (That Feelin’)’; East Bay CA-based Coflo combines Hawaiian & Portugese roots with a global reach. A collaborative skipping house beat, pattering percussion & melodic jazz synth piano embrace sillygirlcarmen’s soulful voice and heartfelt lyrics. This collaboration marks a merging of emotional storytelling and percussive sophistication.

Jon Dixon ‘Saturday At Northland’; Detroit’s modern jazz & techno fusionist, rooted in long study and prestigious performance of classical & jazz piano both in orchestral and electronic contexts, employs his keyboard virtuosity in a thrilling wave of melodic piano improvisation & complex lively percussion, combining sheer craft with spiritual heft.

Kevin Reynolds ‘I Got Music’; from an Irish/US Detroit family, producer/live artist Reynolds blends techno, jazz, soul, from influences as diverse as 90s underground techno, Kraftwerk & John Coltrane, and roles/performances in multiple prestigious venues & positions. Here, a stealthy beat & Kraftwerk-evoking robotic electro synth theme are joined by a dual vocal used as a riff, while clusters of piano chords flower into jazz motifs.

Daybreakers head to Chicago for this one, bringing back How Bad I Want Ya from Soul Element, aka Stacy Kidd, alongside Peven Everett. This record is a true representation of the city — Stacy’s deep approach to house music and Peven’s unmistakable voice up front. It carries that raw, direct energy that defines a lot of their best work.

How Bad I Want Ya has been around for a while now, one of those records that stayed in bags and never really disappeared. It’s a proper slice of deep house with a vocal that stays in your head.

The original keeps things direct and deep. No excess, just a track that does what it needs to do on the floor.

On the B side, Glenn Underground steps in with the Peak True Time Mix, stretching things out and adds some percussion and an infectious bassline. It’s a proper GU remix — longer and patient, while keeping that Chicago swing intact.

Two sides of the same city, done properly.

House that was always deep.

Buy or cry.

Network 23 Recordings proudly unveils its first full digital album release since its revival in partnership with Triple Vision Distribution. It will also release as 3 Vinyl EP's over the course of this year.

Better Than Drugs, the latest album from Crystal Distortion, delivers a high-impact sonic snapshot of both personal upheaval and the turbulent state of the world today. Framed by flashes of media soundbites old and new, the album tackles themes ranging from gentrification in Landlords Hooked On Crack (Breakbeat Version) to the right to protest in Got2StopThem, and the mass manipulation of society in The Chicken Strikes Back.
Launching with a hard-techno surge, the record moves fluidly through a spectrum of tough, mid-tempo rhythms, accented by breakbeats, electro-leaning syncopations, and bass-driven cuts like StepGPT-all while staying firmly rooted in dance-floor intent. Designed for movement and built for impact, Better Than Drugs is a versatile, high-energy release ready to ignite any setting.

Crystal Distortion is a pioneering force in the underground electronic music scene, known for fusing hard-driving techno, breakbeat energy, and improvisational live performance into a signature sound that helped define the European free-party movement. His work blends raw analog textures with relentless rhythmic experimentation, creating high-intensity sets that feel both chaotic and meticulously crafted. As a long-standing member of the Spiral Tribe collective, he has influenced generations of producers and performers, pushing the boundaries of what electronicmusic can be in both form and context.

Der Soundtrack zur irischen Komödie ""The Spin"" (2024) in der Regie von Michael Head, der zahlreiche Auszeichnungen bei diversen unabhängigen Filmfestivals von Belfast über Chicago bis Toronto gewann und auch auf dem Filmfest Bremen lief. Die Originalmusik wurde von Mark McCausland (McKowski) komponiert und produziert und enthält Gastbeiträge von: Howe Gelb, Jolie Holland, John Parish, Nick Power, Dave Murphy, Pieta Brown, Dead Goat, Steve Wickham, Gemma Doherty, Laura McFadden, Brenock O’Connor und Drew McConnell. Die LP erscheint auf farbigem Ecomix-Vinyl, bei der jedes Format ein Unikat ist.

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

(*Previously unreleased)

Telling a tale of house music’s early days or roots without mentioning Tony Humphries as a club DJ, remixer and radio disc jockey would make it an incomplete, forged and most of all a bit of a yawn.
Born in Brooklyn in 1957, Humphries’ musical journey is synonymous with New York City’s dance music history and the evolution from uptempo soul music to house: from being a dancer at David Mancuso’s infamous Loft parties to becoming a mobile DJ and getting the call from Shep Pettibone to become his right hand at
the then new Kiss FM radio station, followed by countless remix offers and a legendary residency at Newark’s Club Zanzibar. Next to that one, is was especially his work as a radio disc jockey for said station during most of the 1980s until 1994 that gave him majestic clout. Breaking new records week in, week out,
putting New Jersey acts like Adeva and Jomanda or countless up-and-coming producers from there on the musical map, while simultaneously playing the hottest imports from Europe, trax from Chicago, dance classics and all things straight from New York’s music factory that never seemed to stop.
Going to his vast and almost complete archive of radio shows from way back when he graced those airwaves, we at Running Back Records have pickedNew Release Information original recordings that symbolize his importance as an industry giant and ambassador of this style of music.
„But one thing I would like to point out is that, as a DJ, the music I play is not my music. I want to make it perfectly clear that it is music that is released, and it’s everyone’s music. I do not take any other credit than being the middle person exposing this music.“
(Tony Humphries in: What Kind of House Party Is This?, Jonathan Fleming, 1996)

One of the true, undisputed pioneers of Dutch techno, Steve Rachmad appears on Dekmantel for an EP of peerless machine music. On the 3-6-9 EP, the artist also known as Sterac, Parallel 9 and many other names plies a powerful trade in funked up, gritty and soulful techno made the proper way.

The connection between Rachmad and Dekmantel reaches back many years via his frequent appearances at the Dekmantel Festival — he has two performances at the 2026 edition as well as sets at Dekmantel Selectors lined up later in the summer. The 3-6-9 EP lands ahead of an album and world tour that marks 45 years in service to electronic music, nodding to Rachmad's earliest roots in electro funk through to his day-one embrace of house and techno as it made its way across the Atlantic from Chicago and Detroit.

There's a rowdy, rave-spirited energy to the synth hook bucking its way through the centre of '3 Creation Energy', coming on in brassy tones laced with artful distortion while the drums dutifully jack the way they ought to. There's a more linear, pressure cooker quality to the tidal filter work guiding '6 Physical Manifestation' to its own energetic peaks, while '9 Completion and Delivery' surfs on coursing waves of arpeggiated lead lines before breaking through to the oceanic calm of grandiose pad tones.

There's no mystery to unpick here — this is quite simply techno perfection made with the instinct and experience of a master of the form, whose life is synonymous with every inch of the culture.

From the coastal city of Paramonga, three hours north of Lima, comes one of Peru's most electrifying and unjustly overlooked stories. Victor Ramirez and his band forged a sound that fused cumbia with guaracha, salsa and guaguanco - psychedelic guitars, wah-wah pedals and Fender amplifiers driving rhythms that conquered first northern Peru, then the capital itself. Spread across four sides, this lovingly assembled compilation draws from their two landmark albums and their 45 singles catalogue, so it is a full colour capture of Los Orientales at their peak. A complete portrait of a band that helped define modern cumbia is long overdue.

Around 1970, musician, music producer, and entrepreneur Fernando Arias founded the record label Discos Fernando Arias (Difa) in Lima, the capital of Peru. This label was crucial for the musical production, promotion, dissemination, and development of Peruvian tropical music; more specifically, the so-called “carretero style”, so named because it was rooted in the famous Central Highway (Carretera Central) of Peru, which crosses the country from west to east, from the coast to the jungle, through the Andes mountain range. This style is defined by sudden changes from ballad to fast and aggressive tropical music, with electric guitar lines drenched in fuzztone, reverb, and wah-wah. To this must be added the plaintive, melancholic vocal style characteristic of Andean Peruvian music.

Jay-Jay Johanson's 1998 album Tattoo is a captivating blend of trip-hop, jazz, and electronic music, showcasing the Swedish singer-songwriter's unique melancholic sound.

Tattoo features standout tracks like "Quel Dommage" and "Even In The Darkes Hour," which highlight Johanson's smooth vocals and atmospheric production. The album's moody, cinematic style is characterized by its downtempo beats, lush arrangements, and introspective lyrics, creating an immersive listening experience. Tattoo marks Johanson’s evolution as an artist, blending influences from jazz noir and electronic music to craft a sound that's both haunting and elegant.

Fans of trip-hop and experimental pop will find Tattoo a timeless gem, embodying Johanson’s signature emotional depth and musical sophistication. Listening to it will take you on an evocative journey into one of the most distinctive albums of the late '90s.

Tattoo is a limited edition of 500 numbered copies on translucent red coloured vinyl.

After years of dormancy, Stilove4music is back with a brand-new 12” from label boss Jerome Derradji — the 52nd release since the label’s creation in 2005. You know the drill: Midwest disco floor bangers made strictly for discerning DJs.

Titled “Do or Don’t”, the EP delivers three essential joints:

“Disco Don’t” is a fast-paced, floor-destroying monster built for peak-time damage.

“Jazz Do” shifts gears into a mellower, psychedelic jazz disco zone, featuring Jerome on live piano, Fender Rhodes, and Korg DV800, with additional programming for good measure.

Closing things out is “Never”, a lovely, groove-heavy floor filler bursting with Brazilian love — again elevated with extra programming from Jerome.

All tracks were produced by Jerome Derradji at the Hirsch Society For Togetherness in Chicago circa 2025.

For the fifth volume of the Disco Goodies series, Sundries continues its tradition of delivering carefully hand-picked selections designed to satisfy every vinyl enthusiast, presenting a wide ranging collection of disco oriented cuts. From vocal-heavy disco edits like DJ Laurel’s “Rock The World” and Save The Robots’ “Warm Injections,” to classic disco-house fusions such as the irresistibly catchy, eyes-closed groover “Keep Me Loving U” by Gigi Croccante, and “Like A Fool” by Berlin based producer Shabi driven by Chic-style clipped guitar sample ,delivers pure dancefloor energy with character and warmth. Flipping to the B side, you’ll find the slow-mo disco jam “Keep It Coming,” a proto disco soul rework by producer Ben Jamin. GMGN closes the compilation in style, teasing out a hypnotic cut-up loop and layering it over a hazy, late-night atmosphere elevated by lush sax sections.

Frenchman Franck Roger is as consistent as any of the deep house greats we have all loved and appreciated for many years. He returns to Seasons Limited with another EP of perfectly timeless sounds to back that up. Opening up this latest gem is 'Don't Make Me Wait', which is shimmering and candlelit, with wispy pads and aching vocal cries occasionally bursting out of the mix. 'The Number Track' has a more pronounced groove with lumpy kicks and this time neon chords bubble through nicely for zoned-out late-night hypnosis. 'Fast Lane' closes with a more insular and dark feel that takes you back to the early days of Chicago house with a devastating synth conveying great loneliness

Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.

Anané’s colourful life in music has seen her do everything from singing at the famous pre-game show at Super Bowl XLI as part of the group Elements of Life, DJ at hotspots like Hi Ibiza, Pacha NYC and Ushuaïa to name a few, while also curating her own monthly residency Nulu Movement, now ten years strong at Le Bain NYC, release unique blends of Afro, house, and pop on labels like Vega Records, and head up her own imprints, Nulu Music and Nulu Electronic. The Cape Verdean-born DJ, producer, vocalist, and songwriter has had countless club hits and has released acclaimed albums like ‘Ananésworld’ and ‘Chapters Of Becoming’, often with a lush, live, and orchestrated style that is truly unique.

With this release, Anané steps forward with her first solo production to date. Here she serves up the sumptuous ‘It Looks Like Love’, a poised, elegant house sound with her own smoking, soulful vocals and classy strings bringing colour to an Afro groove packed with infectious bounce. Neat guitar riffs and silky synths all enrich this most sophisticated sound. The first mix sees Anané link up with veteran Italian Christian Mantini, who has hosted Sunset Ritual parties with Anané and Louie Vega since 2013. Their dub is rooted in warm, rubbery drums that are even deeper and more immersive than the original.

Manda Moor & Sirus Hood are a red-hot contemporary pair who run the Mood label and are defining the contemporary underground. Their remix is more driving, but it retains the soulful vibe with breezy pads and jazzy motifs drifting in and out above the swaggering groove.

Rotterdam-based Chicagoan Jamie 3:26 is a master at blending disco, soul, and house into timeless sounds, and here he delivers a loopy rework that pairs deep drive and sun-kissed vibes with funky, Chic-style bass guitar motifs.

Fresh Meat Records is proud to present the vinyl re-release of From Chicago With Love, a record originally produced and released by Mazi Namvar (aka Audio Soul Project) in 2004. Though it may have flown under the radar upon its initial release, the record has recently gained a cult following, with prices on the secondhand market steadily climbing. A single copy now fetches as much as $170, with a recent test pressing selling for $100. Recognizing the demand, Fresh Meat Records has gone to work offering a beautiful repress of the record—one that truly does justice to the original while adding something special for long-time fans and newcomers alike.

From Chicago With Love Reprise is a celebration of a classic with a new dimension. The record includes a fresh fourth track, “Murmurs Low,” which features the saxophonist Jimmy Tripp and a spoken word performance by Mazi. Together, they add a soulful and atmospheric touch to the original, expanding the sonic palette while retaining the deep, intimate energy of the original release.

The tracklist remains faithful to the original with the standout “Tattoo Of You” leading the way on the A1 side, sounding better than ever thanks to an impeccable re-cut by Lawrie Dunster at Curve Pusher. The deep grooves of “Tattoo Of You” still deliver their deep and mesmerizing house vibes, setting the tone for the rest of the release. In the A2 position, “Murmurs Low” provides a captivating, subdued moment, with the saxophone adding a melodic layer to the evolving rhythm that makes this track truly memorable.

On the B-side, “Down” takes its rightful place as the first track, maintaining a dubby soulful drive and emotional call to action. Closing out the record is “Let Me Know,” a track that brings the journey full circle, providing the perfect outro for the reissue and reminding us why this record is still beloved.

In creating From Chicago With Love Reprise, Mazi Namvar has ensured that every detail is accounted for, from the masterful cutting by Lawrie Dunster to the selection of 8 different color sleeves, offering something for both collectors and music lovers alike. The reissue ensures that this classic can now be enjoyed at a reasonable price, far more accessible than the inflated prices on Discogs. This new pressing is a labor of love, showcasing not only the timelessness of the original tracks but also the care that has gone into its revival.

Whether you’ve been following Mazi Namvar’s work for years or are just discovering this release for the first time, From Chicago With Love Reprise is a powerful reminder of the depth and beauty of house music’s rich history, as well as the enduring passion that drives artists to continue creating for the dancefloor. Get ready to experience this iconic record in a whole new way—one that honors the past while looking forward.

Written, produced, performed, mixed, and arranged by Maziar Namvar.
Additional keys on A1 by Joshua Collins.
Saxophone on A2 by Jimmy Tripp.
Vocals on B1 by Lori Reigler.
Copyright Control
2025 Fresh Meat Records

Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The vinyl sounds like it means business.

The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster serves the synth work well, keeping the melodic lines clear and the low end present without overcrowding the mix. Zentz built something durable here, and the vinyl pressing confirms it.

Sound Whore by DJ Mes follows, and Mes doesn’t waste any time. The wah-wah guitar arrives early, the trumpet not far behind, and then the Latin percussion and vocal samples start stacking up. It’s a lot, but Mes holds it together with a groove that keeps pulling everything back toward center. You don’t resist it. You just follow.

The B-side belongs to the most requested track in the label’s catalog, and it’s easy to understand why. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and then opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a particular gift for this, the ability to make a moment feel like it could last forever without ever losing tension. Ramirez’s own keyboard solo survives toward the end, a subtle crescendo that feels earned. Dunster captures the whole thing with care.

It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Nothing complicated about it, and that’s the point.

Play it loud.

Track A1 written and produced by Maziar Namvar and Joshua Collins. Remixed by Bryan Zentz.
Track A2 written and produced by Jason Sutton.
Track B1 written and produced by Cesar Ramirez. Remixed by Mike Huckaby.
Track B2 written and produced by Gabriel Palomo & Geto Mark.
Mastered by Lawrie Dunster at Curve Pusher, UK.
Copyright Control
2026 Fresh Meat Records

Shorter Version

Winter Collection arrives a little late, but it arrives right. Four tracks across two sides, drawing from Chicago, Detroit, Oakland, and Portland, mastered for DMM cut by Lawrie Dunster of Curve Pusher. The A-side opens with the Bryan Zentz Remix of Basic Analogue, originally written and produced by Mazi and Joshua Collins. Dunster’s remaster keeps the melodic lines clear and the low end present. Zentz built something durable here, and the vinyl confirms it. Sound Whore by DJ Mes follows. The wah-wah guitar arrives early, the trumpet not far behind, then Latin percussion and vocal samples start stacking up. Mes holds it together with a groove that keeps pulling everything back toward center. You just follow. Mike Huckaby’s remix of Cesar Ramirez’s Congo Fury anchors itself to a conga line and opens outward, synth lines drifting across the rhythm like smoke. Huckaby had a gift for making a moment feel like it could last forever without losing tension. Ramirez’s keyboard solo survives toward the end, a subtle crescendo that feels earned. It’s Time to Jack by Da Outlawz closes the record. 909 drums, cracking snares, chopped vocal fragments. Barebones Chicago house, designed for a sound system that can take the weight. Play it loud.

Following the release of the digital single, Berlin-based groove collective The Ruffcats and Chicago soul singer Doug Shorts return with a strictly limited 7-inch vinyl edition of “I Ain’t Worried” , pairing the original retro-soul cut with an exclusive remix by none other than Erobique. The original version is a timeless slice of analog soul: laid-back yet confident, driven by a deep pocket rhythm section, warm horn arrangements, and Doug Shorts’ unmistakably smooth, Chicago-rooted vocal delivery. Written by The Ruffcats and Doug Shorts, the song carries a quiet message of resilience and inner calm, echoing the spirit of classic late-’60s and early-’70s soul without ever slipping into pastiche. On the flip side, Erobique brings his unmistakable touch to the track: playful, groove-heavy, and full of character. Known for his ability to bridge deep musicality with infectious dancefloor energy, the Hamburg-based producer reimagines “I Ain’t Worried” as a loose, funk-infused roller, retaining the song’s soulful heart while nudging it firmly toward late-night dancefloors and sweaty club rooms.

Originally created in the wider context of the charitable Soul Rabbi – Shine On project, “I Ain’t Worried” has since taken on a life of its own. This 7-inch release celebrates that journey, honoring the song’s roots in community and friendship while expanding its reach through a fresh, club-ready reinterpretation. Pressed on classic 7-inch vinyl, this release is aimed squarely at soul lovers, DJs, and collectors alike: a record that feels just as at home in a crate next to vintage originals as it does in a contemporary DJ set.

The Mexican band The Survival created a blend of blues and acid rock influenced by the U.S. West Coast movement and British blues, captured on this 1971 album-the only one they recorded. They are often described as a combination of Country Joe and the Fish, Quicksilver Messenger Service, Moby Grape, and Ten Years After. One of the rarest records ever released in Mexico, it stands as a significant testament to the "onda chicana," a historical moment when Mexican youth took up instruments to express their reality. The group formed in August 1970 and recorded a single album, "La onda de The Survival" (1971), which combined laid-back blues with distortion. One distinctive feature was that lead vocals were handled by drummer Andrés Lusher-an unusual choice that gave the band a unique sonic identity. The album captured the spirit of the time, portraying generational shifts, repression of youth, fraternity, pacifism, and the influence of drugs. Despite their brief existence, The Survival and their sole album remain a significant testament to the "onda chicana", a lasting mark on the history of Mexican rock. Includes an insert with liner notes.

Talk-Mo-Band mit Frontfrau aus der verfluchten Szene von Elgin, Illinois. ,Something Good Has Got To Come From All These Goodbyes" versammelt die gesamten Aufnahmen von The Lazarus Plot - ihr Debüt-Doppel-7"-Single von 1998, die EP ,The End", eine Split-Veröffentlichung mit Long Live Nothing, eine vereinzelte Compilation sowie zwei bisher unveröffentlichte Songs - zusammen mit einem 24-seitigen Booklet mit Texten und Fotos, gestaltet von Laura Laurent. Ein geheimes Teenager-Tagebuch voller Trauer und Sehnsucht, vertont mit Musik, die vom Louisville und Chicago der Vor-Internet-Zeit inspiriert ist. Keine Reue.

Limited Silver Vinyl. The Rapture wurde im Frühjahr 1998 von Vito Roccoforte und Luke Jenner gegründet. Mit einem scharfen Ohr für Visionäre wie PIL, Television und Chrome erlangte die Band unter ,Kennern" im ganzen Land schnell einen Ruf für ihre energiegeladenen, oft chaotischen Live-Auftritte; wobei Jenner wie ein auf Steroiden stehender Trottel herumhüpfte, während die Rhythmusgruppe ihren patentierten ,sonic deathfuck groove" zum Besten gab. Im Herbst desselben Jahres wurden zwei Alben aufgenommen: eine LP mit acht Titeln, die auf dem wegweisenden Art-Punk-Label Gravity Records aus San Diego erschien, sowie eine Single, die bei Sonny Kayes Gold Standard Laboratories veröffentlicht wurde. Nach diesen beiden Veröffentlichungen nahm die Band ihre ,Make-it-fucked-up"-Philosophie mit auf Tour und tourte mit Sunny Day Real Estate, Gogogo Airheart und Nuzzle. Im Mai 1999 zog die Band nach New York City um. Matt Safer, der kurz zuvor aus Washington DC zugezogen war, übernahm den Bass. Mit einer solideren Besetzung als je zuvor stürzte sich die Band in die Erforschung von Dance- und Popmusik und erweiterte ihre bisherigen Einflüsse um Chic, The Byrds, The Happy Mondays und Timbaland. Auf der darauf folgenden EP - Out Of the Races and Onto the Tracks aus dem Jahr 2001 - festigte The Rapture ihren ikonoklastischen Stil wild-energetischen Rocks, der sich ebenso sehr an Dance-Musik wie am Post-Punk orientierte.

We’re delighted to be working with London based deep house label, To The Rocks

Presenting the Visions of love EP from Lucas Moinet, a Paris-born producer with his roots planted firmly in the soul of house music. Through projects like Keraw, Groove Boys Project and Projecture, he’s built a catalogue that doesn’t chase trends, it’s going straight back to the source. Chicago, Detroit, New York. Four tracks. Deep, soulful, deliberate. Made by someone who clearly loves and lives the culture.

ROCK JUSTICE is a new hard rock/metal act featuring singer Maggy Luyten (Ayreon, Beautiful Sin, The Prize, ex-Nightmare) and guitarist Bas Maas (Doro, After Forever).

The upcoming debut album, You’ve Been Served, is the result of Bas Maas’s long-held dream. He teamed up with Maggy Luyten to shape the powerful, driving sound of ROCK JUSTICE. The album blends varied song styles, tied together by a nostalgic vibe and well-crafted production.

“The idea came to life when I was still playing in After Forever, where I didn’t get a serious chance to contribute to the songwriting. I had written a couple of songs that didn’t make the cut and realized that if I wanted to get my own music out there, I’d have to do it myself, or at least with other people,” says Bas. When he decided to form a band, he had two rules: he wouldn’t sing himself, and it wouldn’t be a female singer. Finding the right guy proved impossible and after several try-outs, one name kept coming up: Maggy Luyten. “Mag’s voice completely blew me away. I thought, ‘This chick sings like a dude and she delivers.’ Not long after that, we met at an Ayreon album presentation in Utrecht. She wanted to hear my songs to see if they inspired her. They did.” The rest is history. Maggy recalls with a smile: “When Bas came over to hear what I’d worked on, we both knew we had something. I still picture him driving back home: window down, our demo blasting, arm out, metal horns up, huge smile!”

We bring a definite label favorite Eddie Leader from Huddersfield, whose label Hudd Traxx is based out of Manchester UK.

Excellent timing on the Need To Pivot EP as it’s kicking off Eddie’s 20 Years of Hudd Traxx Summer Tour!

The title track “Need To Pivot” starts off with an ode to Chicago House in form of a funky, swinging, banger laced over the top with clever spoken words from a voice any dance floor will surely recognize!

For those wanting more banger and less words, we included the “Need To Pivot” Dub version on A2.

The flip side drops the vibe back to what we come to love from Eddie! Deep driving baselines and synth based goodness for both B Side cuts on “Close To You” and “Listen To Me”.

It's with great pleasure that we present the 100th release of Quintessentials! Happy 100! Started in 2008, Quintessentials` slogan was and still is "deep, raw and real". On the way to the 100th release, we discovered talents like (just to name but a few...) Anton Zap, Baaz, Ugly Drums, Mat Chiavaroli, Simon Hinter or The Black Fan, as well as featuring established producers like Luke Solomon (as Lukatron), Borrowed Identity, Alton Miller, Simoncino, Soul of Hex, Felipe Gordon, Javonntte, KRL, Andy Ash or Ralph Session. Quintessentials has never just released stricly one type of music, but put together cool tunes from the House spectrum: Deep House, NY House, Detroit House, Acid House, Chicago House....or do we wanna call it just "House music"? This classic old school 6-track compilation features again a multi house culture and fuses present and past! Quite essential we think!

Scissor and Thread presents Tailored Cuts, Vol. 06, a four-track selection that accompanies the digital compilation album. All four tracks appear on vinyl for the first time. Opening the A-side is a brand new and exclusive dub mix of Soela & Module One’s Drowning, reworked by Matthias Reiling (one half of Session Victim). Originally taken from Soela’s Dark Portrait album, the track is reshaped here into a spacious and hypnotic dub that emphasizes texture, atmosphere and patient groove. "I have been a fan of both Soela's and Module One's music for quite a while now," says Reiling, "so getting the chance to remix their collaboration from Soela's beautiful Dark Portrait album is a huge honor. I tried to keep the elegant and somewhat tender synth work close to it's original spirit and combine it with simple drumkit samples, acoustic guitar, electric bass and a dash of space echo. The process put me in a slightly eerie, yet romantic mood, which, so I hope, translates a little when listening to the result."
Also on the A-side, Black Light Smoke’s Love Triangle appears in ZG’s remix, a lush and understated reimagining that balances warmth with rhythmic precision. On the B-side, Hidden Spheres remix of Francis Harris’ Earth Moves feat. Eliana Glass appears alongside DaRand Land’s Passion Motion from his album Wander Being, "a more upbeat ride, with melodic overtones that drive the “passion”. Personally, it’s my interpretation of some of the sounds from mid-90’s Chicago." says DaRand Land.

RAPRAVE is an exciting collective born out of New York City, specialising in creating music teetering on the cusp of hip-hop and dance music. Consistently great releases like 'Heaven Plus', which is the ninth on the label, perfectly showcase how successful they are at executing this vision. The two tracker, headed by Dallas export Stonie Blue, is a fine display in a mixture of Chicago House, deep house and hip-hop, akin to a Galcher Lustwerk, or from the other side of the pond, Isaac Carter. On 'HEAVEN', smooth, sexy chords and choppy percussion prop up Blue's lyrics: "I found heaven, Heaven in the club". Then, as if in an attempt to make a club ready two-tracker even more club ready, Blue recruits London-based producer tom huna to inject some 2-step flavour into the B-side with 'FWM (S+H MIX)'. On this track, glitchy drum workouts and slick electric piano stabs meld with sensual vocals to create an intimate, late night banger.

In the early 1980's GALLIFRE aka BRETT WILCOTS & FRANKIE KNUCKLES were burning up dance floors with their special remixes. Here we have a highly sought-after original & official reissue that hasn't seen the light of day since 1987 with unreleased instrumentals. Full printed sleeve. 100% legit!

Naya Beat is excited to announce 'PAWA!', a soaring disco-funk anthem celebrating feminism and the power (pawa) of togetherness. It is a mouthwatering collaboration between legendary jazz vocalist and disco pioneer Asha Puthli and NYC’s punk-chic, discodelic stars Say She She.

A fortuitous and fleeting window between touring schedules allowed Puthli and Say She She’s Nya Gazelle Brown, Sabrina Cunningham, and Piya Malik to write and record Pawa! with members of the cult funk band Orgone in the English countryside at Mike Oldfield’s (Tubular Bells) studio. Pawa! is a tribute to female fortitude and an anthemic call to action for unity and collective action. PAWA TO THE PEOPLE! Asha’s spoken word bursts into a soaring falsetto while Say She She’s celestial three-part harmonies make for a sublime call and response between the fabled mentor and her gifted disciples. Throw in a stellar bassline and one of tightest rhythm sections around, and you have an instant classic. And if that wasn’t enough, four remixes bring Pawa to the dancefloor! The UK’s legendary Crazy P deliver not one, but three future classics – an epic house take with a stomping bassline, a stripped-down vocal dub, and a sunshine-ready disco dub. Not to be outdone, Greece’s favourite dance duo Boys’ Shorts add magical disco touches and reimagine the original as an eight-minute balearic opus.

Featuring beautiful artwork and a premium poly-lined inner sleeve, the 12" has been cut to vinyl for the discerning DJ and listener by Grammy-nominated Frank Merritt from The Carvery, London.

2026 Repress

Chicago deep house pioneer Merwyn “Merle” Sanders needs no introduction to true heads.As one half of the legendary Virgo Four (alongside Eric Lewis) and under a slew of aliases, Merwyn helped shape the sound of late ’80s deep and acid house. Their records, now considered foundational, continue to echo across dancefloors and DJ sets worldwide.In the late ’90s, after years of trying to release more material through Trax Records, Merwyn took matters into his own hands. He self-produced his first 12” under the Merle alias — a record that sadly flew under the radar at the time, with most copies eventually destroyed. But one track survived and thrived: “Fannie Likes 2 Dance.” What started as a quiet release became an underground classic, highly sought after by DJs and collectors alike.

Now, Still Music and Jerome Derradji proudly present the full reissue of this cult favorite — featuring the two original mixes along with a never-before-heard unreleased remix by Merle himself.

This special edition comes housed in a full sleeve, complete with a detailed backstory written by Jerome Derradji about the track’s origins and legacy. A true slice of Chicago house history, back where it belongs — on wax.

Mellizos & Mixmasters have collaborated on a new track titled “My Life Is A Disco (In The Mix),” which is a reimagining of the Chicago classic “In The Mix” by Mixmasters. The track is a joint effort between the Texas-based twin DJ/producer duo Mellizos and the classic Chicago house outfit and get’s a release on Franky Rizardo’s LTF Records outfit. The track combines the classic Chicago house sound with a modern, high-energy, and deep percussive vibe, intended for dancefloors. Coachella 2026 went off for this one! The vinyl also includes the Mixmasters’ ‘Fast Eddie’ classic mix.
Essential.


b Mellizos & Mixmasters - My Life Is A Disco (In The Mix) Intrumental


b B1 Mellizos & Mixmasters - My Life Is A Disco (In The Mix) Intrumental


b B1 Mellizos & Mixmasters - My Life Is A Disco (In The Mix) Intrumental

LP Red Vinyl in Picture Sleeve

A criminally overlooked P-Funk treasure from 1981, Tighten It Up captures Chicago’s funk underground at its raw, electric best — with none other than Frankie Knuckles contributing as mixing consultant, giving the record an unmistakable dance-floor edge ahead of the house era. Long out of print and increasingly hard to find, this beautifully remastered RSD edition brings the Gold Coast classic back into circulation, this time on a Transparent red vinyl with restored artwork. An essential 2026 pick that shines a light on a missing link between P-Funk, disco, and early Chicago club culture — exactly the kind of deep, collector-grade rediscovery Record Store Day was made for. 1xLP, Picture Sleeve, Remastered, Transparent Red Vinyl.

Yore Records presents: Craig Alexander - Phenomenal Woman / Across My Mind (12" Maxi Reissue)
Following his recent appearance on the label, Craig Alexander returns to Yore Records with a carefully curated reissue of two standout House Workouts: Phenomenal Woman and Across My Mind.
Originally released on earlier records, these tracks are now brought together on one 12" - each presented in two distinct mixes - capturing the raw, emotional depth of Chicago House in its purest form.
At the heart of this release lies Phenomenal Woman, a track that draws inspiration from Maya Angelou's iconic poem of the same name. Rooted in the African-American cultural context, the piece carries a subtle but powerful message of identity, strength and self-definition - translated here into deep, jazz-infused House music.
Across My Mind complements this with a more introspective tone, driven by warm chords, understated grooves and a timeless sense of space.
Together, these recordings embody what House music has always been at its core:
music with a message, shaped by lived experience, culture and emotion.
Stripped down, honest and deeply rooted, this is Chicago House in its most original and authentic form - a sound that continues to resonate far beyond the dancefloor.

Limited to 250 copies worldwide / no repress.

From Detroit’s techno resistance to Berlin’s elastic minimalism, Lusaka’s ancestral futurism to Chicago’s house communion, When There Is No Sun is a recording project, uniting visionary electronic music producers to reimagine the universe of Sun Ra. One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. Commissioned by Omni Sound and curated by Ricardo Villalobos, the series brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, She Spells Doom, Barış K, and Ricardo Villalobos himself. Drawing from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music of Sun Ra’s poetry, the producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible. Saul Williams, Tunde Adebimpe, Mahogany L. Browne, Abiodun Oyewole, Anthony Joseph and Tara Middleton are the featured voices that turn rhyme into rhythm and revelation into resistance Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum, balancing the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s promise that ‘there are other worlds’ if you are willing to see them.

Test Pressing Tracks is back with a new release from Barcelona original PAU. It’s a another club cut this time landing somewhere between early Chicago house at its most sensual, dark, and emotional and a modern day balearic track.

PROA?is a new collaborative project by Pau Roca and Orion Agassi, two well-known figures in the Spanish electronic music scene, who have come together for first time to release ‘Incondicional’.

The original version features the vocals of Sandy Nuni and also comes in instrumental form. The B side gets a remix from Tepper & Apiento and goes pure heavy club dub. More soon…

Soulful Motown City deep house, hip hop interludes, swinging techno, and early Chicago-inspired cuts. Donato Basile steps out onto DVS1's Mistress Recordings label with two 12-inches: Mistress 18 and Mistress 18.5. Pressed in tandem, each record draws upon Basile's dual aliases to go head-to-head as Dona vs. DJ Plant Texture. Rhythmic machine grooves and masterful MPC work that pay respect to the diverse sounds of the metropolis Midwest cities.

Soulful Motown City deep house, hip hop interludes, swinging techno, and early Chicago-inspired cuts. Donato Basile steps out onto DVS1's Mistress Recordings label with two 12-inches: Mistress 18 and Mistress 18.5. Pressed in tandem, each record draws upon Basile's dual aliases to go head-to-head as Dona vs. DJ Plant Texture. Rhythmic machine grooves and masterful MPC work that pay respect to the diverse sounds of the metropolis Midwest cities.

Two seriously high-grade legends come together to mark the 30th anniversary of the cultured Seasons Limited imprint here: Don Carlos is behind one of Balearic house music's most enduring anthems in 'Alone' and Robert Owens has been voicing the genre since the 80s with his signature smoky tones. Here they cook up 'Inspired' in three different forms - there's a deep and soulful House Mix with an electric delivery from Owens, then a chord-laced and warm Classic Mix with a throwback Chicago bassline and finally a Dub Mix that strips everything back to a more breezy late-night sound that sinks you into the groove perfectly.

LP in Picture Sleeve

Following his acclaimed gospel compilations, Greg Belson digs deeper into the private soul and R&B world with The House of Beauty — a stunning new compilation focused on independent releases tied to chicago’s HOB label. Beautifully remastered, this Celestial Echo release tells a story of DIY soul at its purest and Carmen Murphy’s legendary work. An RSD 2026 special that embodies the day’s spirit — discovering overlooked voices and celebrating the communities that brought us some of the best gospel soul. 1xLP, Picture Sleeve, Remastered.

LTD Edition, Artwork by John Frusciante

LP1 New album
LP2 Available on vinyl for the first time
LP3/4 Debut album on green vinyl
LP5 Second album on red vinyl

When I recorded the first 2 Trickfinger records, I had recently discovered that you could make electronic music in a room with a bunch of synced machines going at the same time, record it on a
CD burner and have a finished track. I've heard this process described as “overdubbing into the air”. It was as exciting to me as my first 4 track was when I was 14. I wasn't trying to be good, or
original. I was just excited that music could be made that way; it felt like I was a whole group of musicians playing together… or like I was jamming with ghosts of myself. This has actually been a
very common way of making electronic music since the 80s, particularly in the main pioneering genres like Chicago Acid and Detroit Techno, but anyways I didn't figure it out until 2006. In 2007,
I started doing it myself, which resulted in what was eventually released as Trickfinger, and Trickfinger II. I was just home from tour and was still in the middle of recording The Empyrean.

A couple of years later I started making music by overdubbing onto a computer, but using the same machines. I tried to make music that didn't sound like anything else. I saw a way of combining
Progressive Rock and Synth Pop which nobody had done. And I was combining my songwriting and guitar playing with these old machines in a way which I was sure was unique. I had reached a point
where it was more important to do something original than to do something good, whatever “good” means.

Some of this music did not get a proper release, and is compiled here as the vinyl record High Low. I don't think I have ever tried so hard at making music as I did during that period. This in contrast to
those two Trickfinger records, where I wasn't trying at all. There’s something to be said for both mental states. When you're in one, the other seems impossible. I was really pushing myself on High
Low. Looking back, it was as if I had an audience inside myself, driving me to go beyond my abilities, while at the same time I had a total disregard for any concept of an actual audience. It
was one of those periods in life where things come together in a certain way that feels natural at the time, but seems foreign in retrospect. It felt like I was going to die if I didn't do something musically
different.

The fourth record in this box is me breaking in a new mixing console, making live-to-stereo music. The record is called Rotation, and it is all new music. These tracks are more in the “not trying”
category, since we're on that subject. I had just come home from tour, and was just really glad to be in the studio with my machines. Acid Test thought it would be nice to do a box set commemorating the 10th anniversary of the release of Trickfinger, and so we put together this box set, with homemade cover art.
John Frusciante 2026

Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.

Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.

Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.

As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”

Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.

The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.

Bogdan Ra kicked off his new label Love Affair with some banging house cuts that threw it back to early Chicago styles. This third outing flips the script and shows his range with four disco sounds that take their cues from the late 70s and 80s: all the hallmarks are there, from the classic synths and vocoders to dusty drum machines. 'Complimento' is a smooth title track, while 'Shout' is a French-tinged funk workout., 'Paramour' glides through cosmic disco textures, while 'Fire in Cairo' brings an unexpected vocal twist and acrobatic bassline full of movement. Charming stuff.

Since launching two years ago, Craig White has used the Mister Bear label as a vehicle for quality, musically expansive deep house from a handful of established artists. Chief among these is Chicago great Vick Lavender, who here once more joins forces with trusted multi-instrumentalist Justin Dillard (and on side B, Will Jackson) for a pair of cuts fronted by honeyed vocalist Brian 'Smokey' Williams. A-side 'Experimental' is particularly special, with Williams seemingly improvising atop a chunky, bass-heavy organic house groove marked out by funky Clavinet licks, Ron Trent style percussion, spacey synths and rich organ chords. The collective goes deeper, smoother and even more intricate on flip-side 'Love Times', which is presented in both full vocal and instrumental forms.

Der Singer-Songwriter Max Subar aus Chicago legte den Grundstein für ,Anything Could Be", sein Debütalbum, in einem Haus am Ufer eines zugefrorenen Sees in Wisconsin. Subar kehrte zu der klanglichen und geistigen Landschaft zurück, die er während der ersten zehntägigen Session geschaffen hatte, und blieb ganz im Moment, indem er nur dann arbeitete, wenn er sich wirklich voll und ganz darauf einlassen konnte. Die meisten der zusätzlichen Sessions, die dem Album Textur und Farbe verleihen, wurden in Subars Heimstudio aufgenommen, in demselben Haus, in dem Case Oats, die von Casey Gomez-Walker geleitete Band, in der Subar Gitarre spielt, ihr 2025er Debüt ,Last Missouri Exit" aufnahmen. Sein Bruder, Sam Subar, spielte Schlagzeug. Weitere Instrumentierung kommt von den Case Oats Bandkollegen Spencer Tweedy (Schlagzeug bei ,I Never" und ,Way Up"), Jason Ashworth (Kontrabass) und Scott Daniel (Violine) sowie den häufigen Mitarbeitern Chet Zenor (E-Gitarre), Kelly Hannemann (Klavier) und Sarah Weddle (Vibraphon, Orgel und E-Piano). Die Arrangements, die dabei entstanden, sind großzügig und erhellend und verleihen den Grundzügen der Live-Gitarren- und Gesangsaufnahmen von ,Anything Could Be" Substanz, ohne dabei ihre Spontaneität zu opfern. Im Ergebnis ein fesselndes, offenherziges Debüt, das mit dem Hörer wächst und Zeit und aufmerksames Zuhören belohnt. Seine 11 Songs sind durchdrungen von dem, was die Dichterin Adrienne Rich ,eine wilde Geduld" nannte, einer radikalen Stille, die selbst eine Reise hin zu Bewusstsein, Frieden und Selbstwahrnehmung ist. Es macht keine Versprechungen darüber, was als Nächstes kommt. Dennoch lässt es die Hörer in atemloser Vorfreude darauf zurück, was das sein mag.

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.

A concentrated four track showcase extending the warm glow of last summer’s album “Cruise Control” into the spring of 2026. Satin Jackets lines up a heavyweight cast and delivers an EP that moves effortlessly between sunlit elegance and late night force.
A1) Satin Jackets & Kimchii – “Bring On Up Our Love” (Flashbaxx Remix)
Flashbaxx transforms the Satin Jackets and Kimchii track into a driving disco house floor weapon with bright chords and classic dancefloor swagger. Guaranteed to get everyone grooving.
A2) Satin Jackets & Erobique & Thunder – “You Get Me So High”
A radiant meeting of Satin Jackets, Erobique and Thunder that sails between disco, Westcoast soul and soft focus glamour. Built around the 2025 vocal, the trio turn it into a warm and irresistibly smooth homage to timeless Yacht Rock.
B1) Satin Jackets & Nazzereene – “Know Me” (Johannes Albert Remix)
The Berlin producer dives deep into Chicago house aesthetics and delivers a crisp, rolling late night tool that lights up any club at peak time.
B2) Satin Jackets feat. Seint Monet – “Control” (Ceci Remix)
Ceci closes the EP with a dreamy, slow burning rework that wraps Seint Monet’s vocal in hazy pads and gentle after hours warmth.
Extra Mile EP is the kind of twelve inch you do not pass on. A tight, potent combination of artists who elevate each other with ease.

Sole Aspect returns with the second part of its Sole Discretion series and this one goes deeper into the club while expanding on the textured, late-night energy of its predecessor. Dubbyman opens with widescreen deep house on 'Always In & Out' which wraps Aki Dawson's hypnotic Chi-town vocals in slow-burning warmth. The Windy City's Specter follows with a warm, weighty beatdown rooted in the US Mid West before Boo Williams turns up the heat with rolling basslines and his signature rhythmic deftness, backed with a subtle cosmic glow. Taelue closes the set with 'Interplanetary' which is a raw, futuristic cut that drifts into spacey territory and, along with the other cuts, is a sharp reminder that Chicago house's future is in good hands.

MOVE TRAX is thrilled to unveil "Grab My Love," the eagerly awaited second release from the Tokyo-based label, curated by its founder Al Jones. This enchanting EP synthesizes the sun-soaked essence of early 90s balearic vibes with the alluring melodies of classic Italo house piano, all interwoven with the evocative sounds of traditional Japanese instruments, notably the koto. At the forefront are the irresistible vocals of Aiko Inoue, whose whimsical lyrics recount a lasagna recipe in a manner that feels like a sumptuous love letter—a blend of playful humor and sensual mystery.
Complementing the original vocal mix is the "Scarpetta Dub Mix," where delightful silence speaks volumes, symbolizing the final, indulgent moments of a culinary feast. Further enriching this sonic tapestry are two distinguished remixes from renowned Italian artists: Massimiliano Pagliara lends his ethereal touch with the "Hanami Mix," a delicately layered composition that transports listeners, while Mr. Ties delivers the vibrant "House of Matsuri Mix," infused with a raw, Chicago-inspired acid baseline that guarantees peak-time excitement.
"Grab My Love" transcends conventional dance music, showcasing the innovative spirit of its creators and promising to captivate audiences on dance floors everywhere.

Bill Converse should be a household name in every head’s abode. He’s been DJing live with 3+ turntables since he was a teenager, always under the same name. Unfathomably envious record collection. Your favorite DJ’s as well as very likely your favorite DJ. Whether it is DJing or a live set, his presentation is head-spinning, hard-edged but hypnotic. His avalanching drum programming is as recognizable as Coltrane’s timbre. His records have been released on Dark Entries, Fit Sound, Texas Recordings Underground, Tabernacle Records, Immortal Sin, Acid Test, Feral Colony and Obsolete Future. Now Fixed Rhythms presents a 2×12” pack of Bill’s characteristically bewildering excellence.

The first 12” has four cuts. Woozy, heavy, bombastic machine workout opener “Stress Test” followed by the tension peaking sustainer “ZoneZone” on the A side. On the B side, “770” brings us to a new place of plucky bass lines and unconventionally tuned drum workouts, with “lure me” closing the first 12” with flexing low-end, percussive stabs syncopated with heavy snaredrum riffing.

Where does this music come from? Although you hear the decades of Midwest techno, jacking Chicago house, brain-tickling Warp Records cuts, and his dizzying skills as a DJ in the brew, his sound is uniquely Bill’s. The second 12” peels back the curtain a bit more, as the C and D side are two extended cuts from his live set at 2024’s Jackie O’Body Vol. 2 in Denton, Texas. We here at the label were at that gig. Pure energy. Sexy distortion. Rhythms that made you scream. After the set, the room erupted in a chant of “BILL! BILL! BILL!”. Dear reader, witness the power of Bill Converse’s raw, overdriven, drummy, jack house tech madness!

Diversion Ends EP highlights the classic sound of chicago acid house, whilst yet emerging into a much deeper and experimental lane of electronica. With three original tracks and an intellectual yet pumping remix from Berlin’s Cinthie, the EP is prepared for the most exciting club playing DJ’s - those who love a curveball yet appreciate a strong, consistent groove.

Lulah Francs has played some of the most respected venues and festivals in electronic music. Her DJ sets have spanned iconic institutions like fabric London, where she’s shared lineups with leading international talent, and she’s played at major events such as Gottwood, Lost Village, and La Terrrazza Barcelona. In addition, Lulah champions grassroots culture through her own event series sub:terra, a collective and club night inspired by the spirit of early acid house, having invited selectors such as Niks, Jaye Ward, etc and taken over strong institutional rooms such as Fabric Room 3.

Analog Fingerprints Vol. 0 is a compilation bringing together the early 2000s works of Marco Passarani under his Analog Fingerprints alias, collecting key tracks originally released on Rome’s Plasmek and Pigna labels.

For Numbers, the story starts long before the label itself. In their formative years, digging in Glasgow’s Rubadub, Passarani’s records felt like dispatches from a future city. Releases on his own Nature Records and on labels such as Generator and Interr-Ference Communications were mind blowing: rooted in Detroit techno, Chicago house and electro, yet pushing somewhere new. Much like fellow travellers Autechre, who would remix him in 2001, Passarani’s music balanced machine funk with restless experimentation.

Information was scarce, and you would hear these records first on the dancefloor or at listening stations in shops like Rubadub. Print fanzines like Ear and early web outposts such as Forcefield offered only fragments. But there was a palpable axis forming between Detroit techno and a new European wave of record labels including Skam, Rephlex, Clone, Viewlexx and Nature itself. It was the sound that defined Saturday nights at Rubadub’s ‘69’ parties in Paisley, just outside of Glasgow.

Passarani’s records, in particular, were instrumental in bringing together the future Numbers co-founders. Richard had already booked him pre-Numbers; meanwhile Calum (Spencer) and Jack (Jackmaster), then 16/17 year olds working alternate Saturdays in Rubadub, were so enamoured with the Roman sound that they travelled to Rome for the Bitz Festival in 2003 to seek out Passarani and Lory D at their source.

The first Analog Fingerprints release landed as a 12” on Plasmek in 2001, following the fractured, IDM-leaning 6 Katun material. For Passarani, the project marked a recalibration. A DJ first and foremost, he had moved into production via early computer setups, from a Commodore Amiga through primitive PC audio, Cubase and Logic, later experimenting with Ableton. The IDM scene had offered a playground for trial and error, but there was always a tension between abstraction and the dancefloor. Analog Fingerprints became the bridge: still intelligent, but with more dance than distance. After years of broken beats and complex arrangements, he wanted directness without surrendering identity.

Working closely with Francesco de Bellis and Mario Pierro in the Pigneto district, the trio formed Pigna as a vehicle for reclaiming a more accessible dance sound, deliberately steering away from the minimal wave beginning to dominate Europe. Sessions were fast, instinctive, often stretching late into the night with friends dropping by. It was a studio as social space, production as collective energy.

“In that constant search for balance, Analog Fingerprints was my way of expressing something closer to the classic dance floor. The track 'Tribute' - a tribute to my favourite early Detroit techno track of all time, 'First Bass' by Separate Minds - came after I realised I had almost lost my connection with the dance floor. The simplest step was to take inspiration from early Chicago and Detroit and twist it in our Roman ‘Pigna’ way. My goal was to create more accessible dancefloor tracks by mixing my unconscious Italo roots with my teenage love for that early US sound, ensuring the result was as far as possible from the minimal sound that was starting to dominate everywhere.” - Marco Passarani

Technically, the Analog Fingerprints tracks span a transitional era: Roland TR-909, SH-101 and Alpha Juno hardware met early software experiments. A Novation Drumstation rack stood in for the unattainable TR-808, syncing with TB-303 and TR-606. Yet the true secret weapon was Jeskola Buzz, a tracker-style modular environment that allowed step-by-step parameter control and strange melodic constructions, later exported into the audio sequencer. Even the lead on ‘Tribute’ came from an early PPG Wave-style plugin. It was hybrid thinking at a moment when digital tools still felt unstable but full of possibility for technologists like Passarani.

Behind the music sat Finalfrontier, a loose Roman collective orbiting Nature and Plasmek. Distribution and production were intertwined; importing obscure records into Italy built connections with like-minded outsiders across Europe and the US. Expensive phone bills and fax machines forged an “electronix network” that linked Rome to Clone, Viewlexx, Skam, Rephlex, Rubadub and Detroit’s Underground Resistance. There was a shared sense of survival and resistance, of operating against commercial systems.

Passarani recalls “The first time I found a sheet of paper inside an Underground Resistance 12” with info about upcoming releases... and a huge picture of Spock on the back. Imagine that: you love the music, you love Star Trek, and there’s someone on the other side of the ocean sharing those same values and sounds. It was the perfect match. We even gave our original company the suffix ‘Finalfrontier’: that says it all.”

Feedback in that era arrived physically: distributor faxes, conversations with visiting DJs, the experience of playing abroad and meeting kids who had connected with the records. Glasgow became a key node in a scattered outlier network. Passarani personally brought the first two Nature releases to Fat Cat in London, playing them in-store. Shortly after, a fax arrived from Rubadub in Glasgow requesting copies.

“I still remember that phone buzz and the fax paper slowly sliding out, with someone I didn’t know saying they wanted 75 copies of Nature 001. Or like the time we got a fax from the Rephlex crew just saying, “Hello Nature Records, Keep up the good work.” That was how we knew the message was getting through. It was a fantastic feeling; just one piece of thermal fax paper as an analog notification - the mood for the entire week would change.” - Passarani

The connection to Glasgow has since stretched across generations. As Passarani reflects, links often fracture as scenes renew themselves, but in Glasgow something different happened. New and old mixed seamlessly. There was a visible trust in what came before, and a willingness to carry it forward rather than discard it. Observed from Rome, it was deeply encouraging.

Analog Fingerprints Vol. 0 captures that moment of exchange: Rome to Glasgow, Detroit to Europe, experiment to dancefloor. It documents an artist recalibrating his sound and a network of scenes discovering one another in real time, connected by vinyl, faxes and shared intent.

Chicago's DAVE MAZE along with SPIKE REBEL drop this limited 12" EP feat. "a funky combination of Disco Edits, original DE&E Disco runners, and Rare Grooves. 4 amazing runners that are a must have." Limited stock