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EYA Records continues to deliver top-tier techno, house, and electro, and their latest record is no exception. This time, they’re shining a spotlight on Italian producer Mennie. The Plan EP is a sonic experience that flawlessly merges hypnotic beats, cutting-edge melodies, and an infectious dancefloor vibe.

Verdure – Timeless Wave
With ’Timeless Wave’ Verdure releases an overwhelming acidic tidal force of a track.
A 9 min long epic multi layered surge across various territories and morphing along the way, starting out at 145 bpm and picking up velocity in the course, details whizzing by in unsuspected clarity.
Verdure is featured on his own full release on Violent Cases 031 VC031 .

Six Ou Sept & L Art Cène – Cap Nord
Darkness is moving over the surface of the watery deep at ’Cap Nord’. Acid lines cut thru the black liquid with sharp fins. Then a long break...is it the swan song of whales or the intercom of AI reapers? The end or a new beginning? When the Acid fades the Tekno kicks in. 150 bpm is the pace. Both long intro and bold beatless interlude create DJ options.

Too Old Boyz – Darkettony
Too Old Boyz are back in town and they are not in the mood for fooling around. It’s getting dark, better check your rear. The lights are flickering and you can’t get off this train. 40 tons rolling through Gotham at 145 bpm.
Too Old Boyz are Tommers and Introspective Views. Check out their ’Danger Is Sauce For Prayers‘ EP on Violent Cases 022. [VC022] and their Rodenwald - Tauchstation Remix on Endless Night 2 [ENNI2].

With another awe inspiring custom artwork by Darkam. Mastered by Pozek in Vienna.

**Gangster Music Vol.3: The Most Gangster Music Trilogy of All Time Comes to a Triumphant Close**

Imagine curating a dream lineup of MCs and producers from every corner of the rap world—sounds impossible, right? Not for artist and illustrator Gangster Doodles, who has been bringing this vision to life for the past decade. Now, with “Gangster Music Vol.3”, the trilogy reaches its grand finale, and it’s bigger, bolder, and more unpredictable than ever before.

Gangster Doodles himself puts it best:
"It’s hard to believe that I’ve been actively working on this Gangster Music series for the past 10 years. The most gangster music trilogy of ALL TIME is almost complete!! And in my humble opinion Vol.3 is the most exciting out of the 3, both from a music standpoint (special shout-out to all my music heroes on Vol.3) and artistically speaking this is the most fun I’ve had in years”

Since launching Volume 1 in 2019 and following up with the second volume in 2022, Gangster Doodles has been shaping the Gangster Music series into a one-of-a-kind sonic universe—an unfiltered mix of underground titans, unsung legends, and rising stars. Volume 3 is the biggest installment yet, boasting a staggering 30 tracks that traverse the entire spectrum of rap and beat culture.

This time around, the lineup is as eclectic as ever. From legendary pioneers like Lee Perry and Tommy Wright III, to veteran producers such as Mr. Scruff and Peanut Butter Wolf, the album pays homage to hip-hop’s roots while pushing forward into fresh territory. The roster also includes established up-and-comers like Devin Morrison, Low Leaf, DJ Harrison, Quelle Chris, Homeboy Sandman, and Suzi Analogue, ensuring a mix of classic flavors and new-school innovation. The bubbling underground is well represented too, with artists like Raz Fresco, Atlanta’s 645AR, and Pro Era’s Chuck Strangers bringing their own distinct heat.

From pioneering SoundCloud rappers like Pouya to genre-bending composer John Carroll Kirby, from Birmingham’s Romderful to Chile’s RVYO, the album encapsulates a truly global soundscape, proving once again that Gangster Doodles’ ear for cutting-edge talent is second to none.

As always, the cover art is a vital piece of the puzzle. This time, Bootleg Garfield & Friends take center stage, bringing the same playful irreverence that has defined Gangster Doodles’ artwork for years. Fans are encouraged to engage, remix, and make the cover their own, staying true to the spirit of interactive creativity that has always fueled the series.

After years of meticulous curation, countless DMs, emails, and behind-the-scenes wrangling, Gangster Music Vol.3 is here to complete the trilogy in legendary fashion. Expect boundary-pushing beats, next-level lyricism, and a lineup that celebrates hip-hop in all its many forms.

“Thanks to everyone who’s actively supported and continues to tap-in. Believe & trust when I say I've got more dope stuff cookin’. STAY TUNED!! GANGSTER DOODLES 4EVER. 1LUV."

Gangster Music Vol.3 is out April 7th on All City. Stay tuned, stay tapped in, and get ready for the most gangster music experience yet.

Our fourth album finally gets the vinyl pressing it so richly deserves.

Originally released in 2007, Rude Mechanicals found us firing on all cylinders. The nine years since our debut had been spent touring our cutting-edge audio-visual show round the world, playing everywhere from Tokyo to Tauranga, Portland to Paris, Leeds to Las Vegas, finding fans and absorbing new sounds along the way.

We successfully combined and refined the stand-out elements of our previous releases to create an album that is alternately danceable and meditative: a genre busting excursion in sound, heaving with warm basslines and complex rhythms, topped up by haunting melodies and immersive soundscapes.

From the evocative opening South of the Line to the stepping 1000 Mile Drift, the dub is strong, as one would expect, and so is the influence of drum’n’bass on the bottom-heavy Bird Soul and the atmospheric Please Leave Quietly; trance on the pulsating Sonic Colonic (Live at Minikami) and slinky Transient Transmission (fig.2); ambient on the burbling Harmonia and softly snarling Fragile Ladders. The title track, meanwhile, finds us addressing climate change and greed, with lyrics by Auckland MC KP.

To create the double-vinyl release, Angus McNaughton re-mastered the original audio files, while Hamish Macaulay polished the source artwork by Tom Quarelle and created a brand new collage for the centrefold using pictures taken at the time.

Rude Mechanicals will be released on 11th April 2025, except in Aotearoa New Zealand, where it will be released on 12th April 2025 as part of Record Store Day.

Following the success of his self-released Woldsman001 two-tracker, standout sets at Tresor and Unfold, and praise from the likes of RA and Mixmag, London-based Yorkshireman Dyslecta launches his new imprint, Tenuous Links.

The first release comes from Dyslecta himself in the form of ‘Fulcrum’. Four wigged-out techno cuts aimed squarely at the dance floor

The EP draws inspiration from the natural wolds surrounding his hometown in East Yorkshire. Deep, cyclic drum patterns contrast with the brash, distorted bass elements mirroring the duality of the region’s chalk quarries and glacier-carved valleys.

With the aim of pushing innovative club sounds forward, Fulcrum sets a staunch tone of what’s to come on Tenuous Links.

Coming out on super limited 12” handstamped vinyl

Repress!

Emotional Rescue and Utopia Originals join forces to release the pop, new wave, funk of Obscure Desire, a one-off project and EP from effervescent 80s Auckland, New Zealand that saw three friends come together to make a perfect piece of club pop history.

Revolving around the musical talent of Andrew Waldergrave, a trained pianist, music degree drop-out, who moved to the island’s cultural centre of Auckland and emersed himself in the arts and nightlife scene the city had to offer.

Working at Obscure Desire, a Fashion Boutique meets Salon, he became friends with Grant Mitchell and Giselle Trezevant, together forming not a band, but as they saw it, a project to make a record for their scene and beyond.

Coming from outside of the established band route of endless rehearsals, local gigs, growing a fan base and home recordings, they fell did not have the support network of indigenous New Zealand labels. As so often the case in unearthing these lost reissue gems, the artists took matters into their own hands, seeking to write, record and release themselves.

After meeting Trevor Reekie, head of the local Pagan Records label, he took on production duties. Collating the necessary musicians, the project grew from the one song to become a full EP, recording between a home 16 track studio and a full 24 track desk at Harlequin Studios.

Centred around the title song, it is a perfect pop moment. Waldergrave’s piano leads into an infectious groove of slap bass, gated drums, Reekie’s acoustic guitar and cut vocals, before Trezevant’s vocals propel the song to an 80s swing out vibrations. Coming in Extended, Harlequin and Instrumental (digital only) mixes, this was an overload of White Funk.

Here reduced to the best two versions, more room is given to let the other recordings breathe, first the gloriously anthemic instrumental Bullet. Intricate programming and production, lead into the pop sensibility of I Wonder, some kind of wonderful antipodean reimagining of Chris & Cosey finest pop moments, an optimistic paene that permeates the whole EP. Closing 4A, espouses the Jazz Funk, with Trezevant’s simple French lyrics telling of dreams of a lover’s image.

Released in 1986 with no local support from radio and TV, it became something of a “hit” record in New Zealand’s more discerning clubs, however the members soon moved to London and the project remained a one-off moment. Over time the EP has gained cult status to become globally desired that sees copies of the original 12” selling for $000s. Now at last available for a global reach, while remaining a personal, uplifting moment of time.

Team TD take a break from re-scoring Colin McCrae Rally to pay our own oddball homage to some of our DJ deities in the form of Talking Drums Volume 8.
Keeping things diverse-yet-disco, this little mover grooves through Muzic Box pump, Lofty symphonics and a Ku-curveball with a smile on its face and a pep in its step.

The A-side erupts in a flash of sexy Euro-NRG, twisted and lifted to give any sweatbox a massive Hardy-on. Sequencers throb, swell and burst, horns wail and not one, but two, killer basslines blast the floor with erogenous urgency. Chuck in a coquettish vocal, delay madness and a fist pumping breakdown and you've got pure peak-time play folks.

The B1 belongs to the sumptuous strings, loose funk and live disco strut of 'Too Hot'. Low slung, low tempo but plenty punchy, this classy cut builds and builds through Merc-y repetition before blooming a fully fledged groover. Taut funk breaks sit beneath a floor-filling vocal and twinkling Rhodes, the wah guitar works overtime, and it all adds up to take the dance floor temperature sky high. Enjoy on a hi-fi sound system with plenty of spiked punch.

The curtain call comes via the alfresco flamenco-frenzy of Ronseal-approved 'Maximum Balearic Dancer', which does exactly what it says on the tin. The TD troupe takes a tiny snippet of Swiss fusion and fleshes it out into the fully fledged floor-filler it always deserved to be. Blessed with a buoyant bassline and balmy mood, this beauty sways along through some weird but wonderful synth riffs, holding you close for that soul-soaring piano solo.
Sometimes you gotta wake up on a beach naked.

Limited Press - Numbered Insert - Drum Fun Guaranteed. .

Tuskegee returns with serious intent and a fresh club weapon from a recognised statesman of house music, Junior Sanchez. Having written and collaborated with artists including Daft Punk, Armand Van Helden, Todd Terry, and Roger Sanchez, ‘Bitch U Could Neva’ pairs Sanchez with vocalist and songwriter Dave Giles II, riding high himself following link-ups with Honey Dijon, Mike Dunn, and a producer on Beyonce’s anthemic ‘Cozy’.

‘Bitch U Could Neva’ is a powerful, instantaneous trip back into the underground style and attitude shared between both artists, reflecting the vibe of Sanchez’s rise to success in the halcyon days of New York nineties clubbing, alongside Giles II’s own youth in the Chicago creative scene. Living up to the attitude of its title, ‘Bitch U Could Neva’ bumps with peak-time energy, jackhammer drums and chopped-up vocals never undermining its fundamental sensuality, an increasingly rare link between true, authentic dancefloors past and present.

The pair then look to London for a confident, stripped-back take from prestigious record collector and curator GIDEON. The founder of dance music institutions Adonis and Glastonbury’s infamous Block 9 goes deep to find the track’s potential as a minimal, vogue-adjacent house workout, scattered with telephone dial tones and an upfront disclosure; “Bitch, I’m serving.”

Back across the Atlantic, Physical Therapy and Michael Mangan team up under their Fatherhood project to give ‘Bitch U Could Neva’ a seriously bouncy redress, winding tight drums atop a rubbery bassline and paying their own Twilo and Tunnel-era tributes with cut-up vocals and an ecstatic onslaught of rave stabs.

AJ Christou returns to Crosstown Rebels with his captivating two-tracker, ‘Desire’. Landing on 25th April 2025, the release sees the V-House Sounds boss return following his contribution to the label’s ‘Spirits’ VA series, showcasing his slick and warm sound across two crisp productions. Manchester-based favourite AJ Christou continues his impressive start to 2025 as he steps up for his first full release on Damian Lazarus’ revered Crosstown Rebels imprint with his latest two-track EP, ‘Desire’. An exciting name within the contemporary house landscape, Christou has earned his ever-rising reputation with releases via influential imprints such as Hot Creations, Paradise Music, Cuttin’ Headz and Fools Gold Records - collaborating with renowned names like A-Trak and Robert Owens - as well as his own V-House Sound imprint. Now, with ‘Desire’, the DJ/producer and label boss delivers a refined yet electrifying showcase of his sound, blending rolling grooves and subtle intricacies.Title track ‘Desire’ opens the release with its deep, pulsating basslines, crisp percussion, and a sultry vocal line that lures listeners into its infectious energy. On the flip, ‘Patience’ offers a more subtle yet equally engaging journey, featuring textured soundscapes, dynamic drum arrangements, and a groove-laden core primed for late-night moments. Providing another standout addition to his catalogue, ‘Desire’ marks Christou’s return to Crosstown Rebels in style, further solidifying his position within the global scene.

HandsOnWax presents catalog number 004: precision-engineered dancefloor weapons. Four meticulously crafted house cuts, designed for maximum impact. Strictly limited vinyl-only edition – acquisition advised!

Electro music heroes DJ Di'jital, Microthol, Alex Cortex and Luxus Varta step up to the plate for the TRUST XY recombination series, recreating classic tracks from the Austrian label's history in their unique styles. Volume 4 of the series has Detroit veteran DJ Di'jital cut up DJ Glow's 'Whoami' from 2002 in ghetto bass MPC fashion. Vienna electro scientists Microthol remake J/V/N Machine's 'Somewhere Tonight' in one of their rare transmissions. Alex Cortex bares his soul as a pioneering minimalist in stripping down 'Honokida' by /DL/MS/ to its harmonic core, and electro virtuoso Luxus Varta brings out the melancholy funk in Populist's 'Psychometric Profiling'.

Remastered from the original tapes by Kevin Metcalf and then reissued for the first time in 2009 as part of the WORLD IN YOUR EYES 3CD set on Reactor.

Now re-mastered for vinyl and re-cut to lacquers by Shawn Joseph / Optimum Mastering and issued as TWELVES. (ref: the 3 x 7” set SEVENS released 2020)

Each side of this 3LP set has one of the 12”s in full, 16 Dreams / Spinning / Collision / Black Sun / Arc-Lite...as well as the promo only LIVE 12” Prisma Uber Europa. The 12” cover of each LP has the relevant sleeve on each side to recreate the original sleeve image, and each 12” side will have labels as close to the original designs as possible.

Hear Loop expand their sound from the Stooges / Velvets / garage pyschout of 16 Dreams, into the Spinning era and then develop their motorik fuzzed-out nihilistic pummel through the Collision and Black Sun EPs to finish this set with the Arc-Lite side, possibly Loop at their most visceral. Unable to be pigeon holed like most bands of this time, their live shows also wiped the floor with everyone as evidenced on the Prisma Uber Europa 12”.

Not reissued on vinyl when first remastered, now its time. PLAY LOUD

For the first time on vinyl, all of the 12” single releases from loop, remastered by Kevin Metcalf in 2008, and originally part of the WORLD IN YOUR EYES 3CD set (also being reissued ). Remastered for vinyl and lacquers cut by Shawn Joseph / Optimum Mastering in January 2025. Packaged so that each side of the LP is one complete LOOP 12” in chronological order (all 5 released 12”, plus the limited Live Promo 12”), with printed inner bags displaying original single cover art, and indeed, labels replicated to match original 12” label for each side/single. Has tracklisting insert also.

PURPLE TRAP, the powerful trio of KEIJI HAINO (voice, guitar), BILL LASWELL on bass and RASHIED ALI (drums), recorded live on stage at The Stone.


Recorded in december 2005, this furious live album by what can easily be called a super group remained unreleased till in 2023 BILL LASWELL made it accessible in a rough-mixed digital version for his bandcamp subscribers program exclusively. For this vinyl version, the music has been newly mixed by DIRK DRESSELHAUS (SchneiderTM) and mastered / cut by RUY MARINÉ at Dubplates & Mastering Berlin.


PURPLE TRAP, the trio of LASWELL / HAINO / ALI, reunited for this one-off gig as part of a 5-day-HAINO-festival at John Zorn's venue "The Stone", seven years after its only album Decided ... Already The Motionless Heart Of Tranquility, Tangling The Prayer Called "I" had been recorded (released on Tzadik in 1999).
The six untitled tracks (+ one as digital bonus) deliver what can be expected from such musical masters:
RASHIED ALI, iconic free jazz drummer who played with JOHN and ALICE COLTRANE, PHAROAH SANDERS, SONNY ROLLINS, JAMES BLOOD ULMER and countless more, is all drums, from quiet tiny sounds to high-energy rhythm patterns.
KEIJI HAINO, one of the most prolific artists of the Japanese experimental / noise scene for almost 50 years now, switches between truculent guitar splatters and full-on psychedelic outbursts.
BILL LASWELL, who as producer and musician created a massive body of work in fiields as diverse as ambient, world music, funk, jazz (and often hybrids of these), has proven his mastery in improvisation in projects like MASSACRE, PAINKILLER or (early) MATERIAL and provides the low-end grounding with his signicature bass sound, or adds effect-laden ornaments to the whole.
An overdue addition to a very small body of work by a clearly under-documented supergroup!

Credits:
KEIJI HAINO: voice, guitar BILL LASWELL: bass RASHIED ALI: drums

Recorded at The Stone, New York, december 15th, 2005. Edited by James Dellatacoma at Orange Music, West Orange, NJ. Mixed by Dirk Dresselhaus at the Zone, Berlin. Mastered & cut by Ruy Mariné at D&M, Berlin.

Layout & design by kaidoh. Cover photography by Jasmin Bär.

Eine sehr schwer zu findende Veröffentlichung der enigmatischen Soul/Funk-Band Sound Investment. Zwei Tracks aus ihrer einzigen und superraren LP, die 1977 auf Brunswick erschien und heute für 500£ den Besitzer wechselt. Zweimal Heavy-Funk-Groove mit "Funky Skunk" und "Dirty Man", die beide zum ersten Mal auf 7" Vinyl erscheinen. Limitierte Auflage von nur 400 Exemplaren.

As bassist for dance-punk outfit The Rapture, Mattie Safer cut his teeth in the music scene alongside a wave of now-legendary early 2000s NYC acts like the Yeah Yeah Yeahs, LCD Soundsystem and more (a time period recently immortalized in the documentary film ‘Meet Me In The Bathroom.’) Fast-forward nearly 2 decades and Mattie has found the sweeter side of dance music as the current lead vocalist for slo-mo kings Poolside, and now he presents his 2nd solo lovetempo project on Razor-N-Tape.

Championed heavily by Gilles Peterson, lovetempo’s modern soul classic 'But I Do' gets a vinyl release with a trio of remixes. Crackazat delivers in his signature style, weav-ing the organic elements and earworm vocals of the original into a deep and jazzy mix. Lon-doner Daisybelle bumps the BPMs up a few notches and adds pulsing synths to her take, and Brazilian duo From House To Disco turn in a dubby club remix to round out the record.

Romano, synthesizer wizard and a hidden creative force behind much of Tel Aviv"s vibrant musical scene, unveils his debut solo album, "Güle Güle", for Batov Records. A cinematic journey through groove, nostalgia, and diverse cultural soundscapes, the album showcases Romano"s rich musical heritage and cutting-edge creativity, building a unique sound worldwide from influences as vast as funk, disco, reggae, to Latin America, the Balkans and particularly the Middle East.

Isabelline curator and label head Practitioner reveals a stunning selection of his own archival productions with 'Portobello Innocent', the third release on the mysterious and acclaimed Berlin-based imprint. Recorded between 2016 - 2024, these «ve selected works offer a broad look into Practitioner’s sonic sphere. Introspective club re¬ections that cover a grand scope of machine-translated human emotions. The EP feels like a dug-up lost tape, timeless tracks untouched by current modes or trends, each composition progressively digging deeper into unknown chasms of the enigmatic producers' distinct sound.

Raisina - A hypnotic club track featuring sharp drum machine rhythms and a prominent vocal sample from a 1960s North African love song, creating an alluring and surreally beautiful opener. Well-Behaved Boys - Pulsating, shu®ing techno drums take front and centre, as warped frequencies from raves of a bygone era tune in and out, ¬ickering between past and present with frenetic rhythms and spoken fragments. Form & Emblem - An effervescent ambient interlude, its shimmering textures and layered atmospheres provide a meditative pause amidst the EP’s harder edges. Kala - Hazy and dreamlike, this track layers a wandering dub bassline under a steady house beat, glimmering jazz chords and ethereal textures surround the sonic sphere, evoking ¬ickering memories and lingering mystery. Council - A relentless, bassheavy techno groover with sharp vocal cuts and infectious energy. Council feels like a culmination of all that camebefore, resulting in a hypnotic and kinetic underground offering that feels in«nite. With 'Portobello Innocent', Practitioner offers a rare glimpse into his abstract realm, crafting magnetic spaces between memory and rhythm, the ancient and the future, the human and machine.

Virginia Beach's Turnover has never been a band afraid of telling the truth. The emotional honesty poured out over a number of anthemic releases has been a proven formula of success for the band, but on their sophomore LP Peripheral Vision, the band treads into deeper water. Working again with Magnolia producer Will Yip (Title Fight, Circa Survive), Turnover's latest record shows a band maturing to create their best effort: an ethereal, reverb-drenched soundscape blending elements of hazy dream pop and the delicate emo rock of yesteryear. Songs like "Hello Euphoria" and "Like Slow Disappearing" highlight the new calmer, more subdued approach to songwriting, matched by Austin Getz's somber, confessional lyrics that echo throughout songs as if his words were haunting every measure. Peripheral Vision solidifies the idea that Turnover is a band with its finger on the pulse of its generation: growing and learning with every release, but never failing to provide a relatable, cathartic experience for anyone listening.

Unfiltered and raw, Basement's colourmeinkindness, cuts with the emotional honesty of a personal diary backed with a flawlessly representative soundtrack. Featuring the iconic Basement songs "Covet" and "Spoiled."

"Salsa con charanga" is really a feast for all salsa music lovers, a true jewel, which deserved much better when it originally came out in 1978. In addition to being a great salsa album, has the distinction that was released on Orfeon, a Mexican record label, due to the diligent work of the extraordinary producer Bobby Marin, and which miraculously received air play when powerhouse Fania label and few others ruled radio in the salsa music world. It comprises eight great, solid tracks; some, new interpretations from other albums in which Mike Guagenti participated with his handsome and captivating voice - a crooner with a salsero soul -, that, at times, could remind us of the late Tito Rodríguez, and even Ray Ramos. "The Mike Guagenti album," as indicated by Marin, "is a compilation of recordings by other artists. Originally a salsa album, I brought in Cuban Pupi Legarreta (violin and flute) and [Panamanian] Mauricio Smith (flute) to give it a charanga sound." With the exception of the cut 'Salsa con charanga,' which is an instrumental, the rest feature vocals by Guagenti. "Salsa con charanga" has developed a cult following, and finding a copy of the original could be quite expensive. Luckily, this officially licensed and restored edition will fill that void.

Midi Mode Records Unveils "Selector Series EP - V.A. Vol. 1"
The first in a series of All Irish Various Artists show casing Techno & Electro.

"Selector Series EP" delivers a potent collection of techno that push the limits of raw, underground energy.
The sound is gritty, rough-edged, and powerful. 4 Dance Floor ready Techno Cuts.

STAMPO is back for its second release! This time producer on the rise Rupert Ellis serves you a platter of 4 Chunky Cuts with energetic arrangements for the peak hours of the night..

(10x12" box set, limited to 1000 copies, with premium finishing, uniquely numbered, incl. 10 records in individually printed sleeves, a booklet detailing the club's history & exclusive stickers) Boccaccio has secured its place among legendary venueslike Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond.



Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A Guy Called Gerald, the unmistakable influence of black American pioneers is clear-the originators of the firstanalog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection, offering a timeless snapshot of a unique era.

Whether Re-defining Experimental Fusion Sounds With The Hugley Acclaimed Yussef Kamaal, Or His Catalogue Of 12's For Imprints Such As Mcde, Eglo, And Rhythm Section As Henry Wu, South London's Kamaal Williams Has Been A Key Figure In His Thriving International Scene For The Past Few Years. The Return Is A Natural Evolution From The Yussef Kamaal Project, Mining The Influence Of Visionary Jazz But Blended With All Kinds Of Texture, Sounds And Signals From The Over-saturated London Streets.
At Times The Keyboard Work Evokes The Classic 70s Fusion Work Of Lonnie Liston Smith Or Roy Ayers, But Underpinned By Rhythms More Reminiscent Of Blunted Hip-hop And Arrangements Subliminally Laced With The Cut-ups Of Pirate Radio. Progressive, Funky, Cosmic, Exploratory And Effortlessly Musical, This Is The Sound Of A Musician Honing Their Craft Into Thrilling New Shapes.
In The Us The Like Of Kamasi Washington And Thundercat Have Made Great Strides In Opening A Whole New Dialogue Between Jazz And Hip-hop, Drawing In A Young, Highly Engaged New Audience In The Process. Kamaal Williams Mine A Similar Seam On The Other Side Of The Atlantic Alongside Other Exciting London Talents Such As Ezra Collective, Ruby Rushton And Shabaka Hutchings.
The Return Is Exactly That: A Return And Refinement To The Sound Yussef Kamaal Were Progenitors Of, And First Set The Scene For One Of The Most Exciting Musical Movements London Has Had In Years.
Notable Tracks For Old And New Listeners Are 'slow', 'situations', 'medina', 'london Shuffle' Which Features Mansur Brown (of Mansur's Message) And For Those Die Hard Yussef Kamaal Fans - They Should Hear The Interpolated Roots Of 'strings Of Light' In The Title Track 'the Return'. And That Signature Wu Funk Can Be Heard On Broken Theme, And High Roller.
The Return Will Be The Debut Album Released On Wu's New Label Black Focus Records.

2025 Blue Vinyl Repress

WRWTFWW Records is very honored to announce the official reissue of Grauzone's essential 1981 maxi single with timeless classic "Eisbär", proto-techno beast "FILM 2", and romantic synth ballad "Ich Lieb Sie", just in time for the 40th anniversary of the Swiss band's formation. The three-track vinyl is sourced from the original reels, cut at 45rpm, and comes with its iconic artwork on a 350gsm sleeve.

Ich möchte ein Eisbär sein...Written by Martin Eicher after a nightmare in which he saw talking polar bears on the walls, and with music by the Grauzone crew consisting of Martin and his brother Stephan Eicher, Marco Repetto, Christian "GT" Trüssel, and Claudine Chirac (on saxophone), "Eisbär" is the most recognizable title from the band, a sublime mix of ingredients reflecting the transitional era it comes from - the raw energy of punk music still palpable, combined with the audacity of early electronics, the warm groove of a disco gem, beautifully fragile lyrics, and one of the best basslines ever. It became a mega hit, totally unplanned, but how could you resist such a track

"FILM 2" is the ultimate b-side monster, a menacing all-instrumental pre-techno masterpiece, slowly building to a magnetizing frenzy. An instant underground favorite, it was famously heard played at both speeds depending on the scenes and DJs you were frequenting, 45rpm as it was first intended, and 33rpm for the cosmic experience (search Daniele Baldelli's Cosmic C75 1982 mixtape online for a great example of this).

The maxi single ends with "Ich Lieb Sie", a synth-pop meets doo-wop ballad, a true love song oozing with innocence. Simple, stylish, and just right.

At the crossroads of post-punk, new wave, pop, and electronic experimentation, the Eisbär maxi offers three songs that are technically different but hold the same spirit, the perfect embodiment of Grauzone's music - wild, unpredictable, and youthful, yet sophisticated, catchy, and ingenious. The magic recipe for the good stuff.

Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and John Armleder, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin's Rephlex label.

Grauzone and WRWTFWW will continue to collaborate on the band's 40th anniversary reissue campaign, with numerous projects planned for the year, including a vast selection of music, visuals, and literature never available before.

Crazy streched breakcore hardcore and speedcore ! 2 LP one 7 inch... The absolute collector !! TIP !!!

Edits by Mr K
Edit heavyweight Danny Krivit edges close to full-on remixes with these two extended takes on soul genius Stevie Wonder’s timeless tunes. Using isolated instruments and vocals, the familiar classics take new shape in the able hands of Mr. K, providing a fresh look at cuts that have never faded in popularity. ‘Master Blaster’, Stevie’s tribute to Bob Marley, gets an attention-grabbing intro that is tailor-made to slide right into DJ sets, while the flip, the R&B essential ‘I Was Made To Love Her’, is filled with breakdowns and clever cuts that will open the eyes and ears of even the most jaded soul fanatic. Masterful work from NYC’s edit king and a fitting tribute to the Motown legend on a loud 12-inch readymade for club play. Record Store Day special!

Signs & Gestures is a various artists limited vinyl pressing which will be available digitally later this year. The vinyl version was mastered by Todd Mariana at Chicago's newest cutting studio, Deep Grooves Mastering.

The compilation features four tracks. Longtime friends Awoke (aka John Griffin) and Jack Buser write the two cuts on the A-side. These guys have known each other for many years and the complimentary nature of their tracks echo their years long relationship. Both use analog gear in their productions. In fact, that is an understatement as both are engineers by day and admitted audio gear junkies by night. Awoke's Untitled #2843 is a quirky drama builder throwing the In My House vocal over squelches and acid lines. Buser's Midi Boson is a classic exercise in simplicity. Drums from an MPC and a lead from Elektron's Monomachine are all it takes for this groove to rattle the dance floor.

Side B is also the work of two close friends. Nathan Drew Larsen remixes Little Turtles by Souls Found. Mazi edits Nathan's remix (released earlier on Fresh Meat's When Bad People Cook Good Food Volume 3) to 6 minutes, removing the atmospheric outro and reducing some of the extended sections. What remains is an energetic workout that is uncommonly melodic and emotional. As Audio Soul Project, Mazi's remix 3 of Sentimental Love combines sections from the first two of his remixes of this song released on Vizual Records back in 2011. This new version will hopefully express the care and love that went into preserving the message of Joshua Iz and Chez Damier's original.

We are thrilled to announce the Playedby020 vinyl compilation, a special edition celebrating Playedby's 10th anniversary. This exclusive collection features 20 notable tracks from renowned international producers. As we mark a decade of musical innovation and passion, the Playedby020 compilation showcases the diverse and cutting-edge sounds that have defined our journey. Join us in celebrating ten years of incredible music with this limited edition vinyl box, a must-have for any electronic music aficionado or committed collector. Thank you for being part of our journey—here's to many more years of musical excellence!

The label Mars Frequency Records run by the spanish electro producer Robert Cosmic backs with their 2nd release, another V.A with 4 high quality electro cuts.

Released in late 2012, Odes was the fourth studio album from The Flowers of Hell. It is a covers record and the first release from the group to feature vocals and verse-chorus-verse song structures. Never available on vinyl until now. Greg Jarvis, front man of The Flowers of Hell, has created something very special; the artwork features a die cut outer sleeve, revealing the printed inner sleeve and when removed, revealing more artwork on the inside of the 300gsm outer sleeve. The music has been remastered for LP by Odes co-producer Peter Moore.Pressed in a red 180g heavyweight vinyl, the whole package is stickered and poly bagged, a real show stopper!

Following the epic and potent album 'Blood' recently released on Infinite Machine; Shanghai-based producer Laughing Ears alights on Hemlock with a killer three track EP.

Losing Track
Dense with pin-sharp atmospherics and gentle intertwined melodies, this lush piece evokes 90's IDM breakbeat and trance and propels them into far away realms.

Bite the Bullet
Bleeps and homespun breakbeats dance into the night on this quirky workout, keeping us on our toes with unhinged edits and a twisted breakdown.

Breakaway The rudest cut on the EP, Breakaway lamps up the pressure for a full sub bass rinse out riding on loose but fully loaded drums.

File under: IDM, grime, breakbeat
RIYL: rRoxymore, Autechre, Dj Crystl, Bruce, Musical Mob

Almost Like You Could ignites its art punk fire with Lucy Alexander proclaiming, “Everyone wants something to talk about / But not a minute to spare, so be brief.” Not surprising from a song that’s 1:54 (‘Higher’), but the raw honesty in her lyrics ring far after the music ends. Alexander, along with bandmate Luke Cartledge, place the propulsive power of their beliefs at the core of their debut full-length album, and their guiding motivation towards social justice is as fierce as it is welcoming. “Living as part of the queer community, and being queer myself, leads me towards supporting every person’s truth,” Alexander says. Scrounge’s songs skip to a fast beat, electrifying the entire album with a sense of empowerment. Their approach is OG punk: they make music for their peers and themselves. Only now, with a world of connections possible, they’re able to open arms wide for a far-reaching embrace. Alexander’s rich vocals give their sound its central force, anchoring the songs with confessional lines (“If this is the pinnacle, then I need a miracle/ Cause everyone’s laughing at me,” “There’s not much left/ this corpse I have to keep/ Above board.”). They sing about economic inequality, political corruption, environmental destruction, and collective change. “We’re inspired by those around us, and we write about what we care about. Art has always existed for us as a means of catharsis, a way of expressing something we might not be able to otherwise, and we hope our music can be that for other people too,” says Alexander. “I think I’ve actually written a filthy banger,” she states while re-listening to “Buzz/Cut”, a grunge-honoring hammer of a song that takes a journey from disappointment, to self-realization, to release. Alexander and Cartledge’s gratification in making an album they’re proud of mirrors the empowerment conveyed in their lyrics. A follow-up to debut mini-album Sugar, Daddy (Fierce Panda, 2022), Almost Like You Could came together over 18 months, in between “teaching, touring, graduation, and a wedding”, as Lucy explains, for the band always has a handful of shows coming up. It’s a strange outcome for a duo who first bonded over their mutual love of SOPHIE. “She radicalized the structure of sound, and revealed herself through it,” Cartledge explains. “That was a massive inspiration when we started playing together, stripping everything away to open up new possibilities as artists and as people." Having already toured Europe and the States, Scrounge is preparing to be on the road throughout 2025. In a world where the idea of true community is ephemeral, Lucy and Luke seek to foster it everywhere they play. And their belief in change is ultimately buoyed by hope. “I know that it’s never been this good,” they sing.

2025 Repress

The precision of naming takes away from the uniqueness of seeing. In the case of Yan Cook, all come together in harmony, Yan joins the label with 4 very well crafted cuts, after a very steady profile and career, now is the time to make him shine even more.

Derailed Records and Planet Rhythm team up for an exciting vinyl series, kicking off with Rotterdam's own ARKVS. Enjoy 4 deep cuts pressed on Dracula-colored vinyl, ready to captivate your senses!

Artwork: ANTM Digital
Mastering: Audiosculpture
Distribution: Triple Vision

Brendon Moeller exploring the deep on ECHOLTD012. Cut on 12" 180g blue marbled vinyl.

If Hawalat sounds like a world tour that’s because it essentially is. “As much as Marzipan is a picture of Lebanon from the inside, Hawalat kind of picks up from where Marzipan finished but more looking to the outside, the diaspora, to the notion of exile.” Megarbane says he is interested in the connections between the global and the domestic, the mundane and the cosmic, and wanted to create space for non-linear progression.

Hawalat is based on the idea of hawala, informal money transfers that you can make to certain countries impacted by a lack of currency or unstable political and economic contexts. His use of the term on this album is not a financial one, Megarbane explains, but a nod to notions of creative exchange between “places, persons, generations.” It is the first time Megarbane called on other musicians in this way to inform his sound, including a collaboration with Sven Wunder on the song Helia featuring strings by the Stockholm Studio Orchestra.

The album opens with first single Hanadi, a punchy Somali-inspired track with warm non-lexical vocals and saxophone. It immediately pivots to the Dreams of an Insomniac, which balances soft, effortless vocals and keys with urgent violin intrusions. Al Dollarji feels like Megarbane’s bread and butter, that is Mediterranean sounds with intricate strings, while Al Bahriye takes this staple and introduces hip hop inflections. The result is a rich 17 track album that effortlessly blends genres and styles.

Including 8 page, 12" sized booklet with unseen photos and liner notes by Armani Syed.