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Uluru is back with another tasty 7”.
Making his debut on the label, Uk producer Dj Hiphoppapotamus bring his energy with two cuts from his sensational “Tropical Wiseguy” series, featuring Father Funk on the b side.

Pull up guaranteed!

Pressed on high quality black and green transparent vinyl (48 gr.)
Edition of 250, cut it loud and fat, highly recommended for big sound systems.

Uluru is back with another tasty 7”.
Making his debut on the label, Uk producer Dj Hiphoppapotamus bring his energy with two cuts from his sensational “Tropical Wiseguy” series, featuring Father Funk on the b side.

Pull up guaranteed!

Pressed on high quality black and green transparent vinyl (48 gr.)
Edition of 250, cut it loud and fat, highly recommended for big sound systems.

In The Dark Again continues to stand for timeless electronic music at its finest. Release No. 14 is yet another testament to that.

The journey begins with the stunning anthem «Tomb of Ligeia» by Scottish artist Sebastian Swarm.

Next up is synth master Heinrich Dressel, delivering the beautifully melancholic and effortlessly cool «Elka Snow Cat.»

Electro hero Konerytmi rounds off Side A with a deep and bleepy cut.

The flip side opens with the massive, brooding «Ruined Horizons» by Be Dellow, a project by Violet Poison, whom the label fans will also know as Bakunin Commando.

Another familiar face brings the record to a close: Igors Vorobjovs, whose unmistakable sci-fi electro never fails to captivate.

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.

There are few electronic musicians as accomplished as A Guy Called Gerald From writing genre-expanding records as a member of 808 State and as a solo artist, to crafting what journalists call the greatest jungle album ever made under the moniker Black Secret Technology, AGCG has spent four decades redefining what electronic music can be. With collaborations, remixes, and tracks for the biggest names in house, techno, drum & bass, and jazz, one thread remains constant: in any decade or any genre, AGCG's music continues to be celebrated as genre-pushing excellence.

Juice Box is AGCG's label, named after his Manchester-based soundsystem. Originally established in 1992, the label went on an unofficial hiatus before the decade's end as AGCG's output demanded wider release. pairing two essential cuts from Gerald's vault that have long deserved proper vinyl treatment. On the A-side, the absolute classic "Voodoo Ray" finally returns to wax. On the flip, 1990's "I Won't Give In" resurfaces from the archive, a reminder that even Gerald's deep cuts carry the weight of lost classics. Juice Box is back, and the catalog has plenty of treasures to unearth, along with new material from one of the all-time greats.

Flex7 is flexing its muscles here, with the currently ultra-prolific king of the multitrack The Reflex doing what he does best. Everything this producer and Pikes regular touches turns to gold and this time the edit maestro adds his know-how to 'D-Y-D', a low-slung and playful funky disco cut with plenty of atmospheric crowd chatter and jazzy chords that swoon through the mix. After that slice of warm proto deep house, the flip features a B-Boy classic cut that is loose-limbed and irresistibly funky.

Sonor Music Editions proudly presents "A TEMPO DI JAZZ" by Maestro Piero Umiliani. This lost gem captures the formative years of Modern Jazz in late 1950s Italy - alongside the legendary Basso-Valdambrini recordings in the early 1960s, as well as the early years of Piero Umiliani's long and prolific career as a composer with over 190 soundtracks, 40 library albums, and 35 TV title themes recorded.

A TEMPO DI JAZZ includes seven original compositions by Piero Umiliani recorded in 1959. Here, at the age of 33, he lays a perfect ground with himself as a pianist, accompanied by some of the best Italian soloists at the time: Marcello Boschi on alto saxophone and flute, Ivan Vandor on tenor saxophone, Peppe Carta on bass, and the American trombonist Bill Gilmore. With plenty of room for improvisation, the sextet fuses Big Band moods with West Coast experimentation of Latin American rhythms and Modern Jazz ballads that sit perfectly between his soundtracks for the films "I Soliti Ignoti" (Big Deal on Madonna Street) from the same year that attained him international recognition, and his masterpiece "Smog" (featuring Chet Baker and Helen Merrill) from 1962.

Five compositions are outtakes from Piero Umiliani's mega-rarity "Tempo Jazz", released on RCA Custom in 1960, while 'Tema In Blues' has been published on the two - impossible to obtain - 45 releases "Moderato Swing" (RCA Camden 45CP 112) and "Tema In Blues" (RCA Custom 45 R3) from 1960 as well as the previously unreleased track 'Mezza Cottura.'

The music has been transferred and remastered from the original master tapes and lacquer cut in MONO, preserving the original sound of the recordings.

In celebration of the 40th anniversary of Talk Talk's iconic "It's My Life" album, it has been cut at Half-Speed by Matt Colton at Metropolis Studios, overseen by Talk Talk drummer Lee Harris and Charlie Hollis, son of Mark Hollis, giving the album a greater depth. Originally released in February 1984, "It's My Life" is the band' second album and followed the 1982 release of their debut "The Party's Over" which initially received moderate success in the UK reaching number 21 in the UK chart and finding some global success.

By the time they came to writin and recording "It's My Life" the band had gone from the four piece to a three with Simon Brenner leaving the band. The album initally found considerable international success. "Such A Shame", the album's first single was a top 10 hit across Europe and the album's title track entered global Top 40's including in the US.

Best known as the longtime DJ for Sugar Ray, DJ Homicide brings decades of turntable experience to this pair of soul-soaked hip-hop instrumentals. 'You're No Good (Flip)' rides a classic boom-bap groove, layering warm samples and heavyweight drums into an effortlessly head-nodding cut, while 'Rich Kind Of Poverty (Flip)' digs even deeper with smoky brass, vintage soul textures and laid-back swing. Unfussy, authentic and built on faultless foundations, both sides underscore Homicide's knack for transforming familiar sounds into grooves that feel fresh.

Mr Bongo reissue Bobby Williams’ coveted deep funk rarity Funky Super Fly from 1974. Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.

For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.

Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.

The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.

Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.

The anime-loving crate diggers behind the Secret Vault series are back with some more disco edits of the highest order, and once again they're aimed squarely at the dancefloor. The A-side transforms an overlooked groove into a peak-time powerhouse, driven by muscular drums, rolling bass and a perfectly paced arrangement that keeps the energy locked as the vocals keep on adding fuel to the fire. Flip it over for a breezy and uplifting, horn-soaked disco workout packed with hooky bass and ever-rising vibes. Respectful of the originals but with the sort of punch needed to cut through. Another doozy from this small but well-formed label.

Mysticisms’ explores the previously unknown Dub House, Digidub and electronic Street Soul of Manchester émigré Andrew Fitzgerald aka Atone on a 6 track EP, shape shifting from dark basements to summer fields, the music is wide-screen dreams, mixing psychedelic temperaments with ecstatic memories.

Dub Dats is a compendium of a life around or making music, beats, dubs; menageries of sound that encompass a love of reggae mixed with the influences of youth. Growing up in Thatcher’s then declining Manchester housing estates, Fitzgerald found escape first as a young roadie, just aged 15, sorting ‘cigarettes and alcohol’ for visiting bands. Rubbing shoulders with the likes of The Buzzcocks, Ian Dury and The Slits, was a great way to learn the ropes, while avoiding becoming another juvenile delinquent.

A love of Bowie, Kraftwerk, Motown, film scores and the emerging electronic and industrial bands like Throbbing Gristle led to a first studio, featuring the unique and faithful DR-55 Dr. Rhythm, soon followed by Sequential Circuits Pro One, Juno 60, Roland 303 (x 2), Roland 808 and Space Echo.

Working on music solidly, a release finally appearing on Robs Records, before losing all the equipment in a robbery. Manchester was shifting, gangs and “Gunchester” meant it was time to move on and when ‘an out’ appeared, Fitzgerald was landing in Sydney and settling into a new life.

Hooking up with Ali Omar, who he’d met while doing a stint in Brixton, London; the two worked solidly on music, gigging continuously, hanging with the likes Severed Heads and living a good life of that post acid-house party era. The loss of Ali to cancer, still young, hit hard and period “quite liked the madness” ensued. Rehab and starting again, Atone has been gaining some interest.

With 2 EPs of early works recently released on Tonal Oceans, Dub Dats looks deeper, with the dubbed house grooves of title cut, Dats and, the intriguingly named, Somewhere In France With Eric Random. Complimented by the electronic dub of Keep On, the soulful, slow breaks torch song, I Be There, the sample heavy Sound Of Soul and closing, trippy Unlike You, this is a multi-genre producer of considerable capability and talents.

Finally getting his due, Dub Dats perfectly fits the Dubplate Series, broadening its soundscape, while also standing out as its own, sonic release.

Atone the mystery.

For our 30th anniversary, we drive back into the catalog to shine a light on two essential releases: Street Knowledge (log55) and Dial (log59) by Tobias.

Originally released during a time when groove, hypnotic repetition and sonic depth mattered more than formats or trends, these two EPs perfectly embody the label’s timeless aesthetic: functional yet subtle music, made for both the dancefloor and deep listening.

For this special reissue, we carefully selected the four strongest tracks from the two EPs. Four cuts that capture the core of the Tobias. sound: organic rhythms, soul-infused minimal house, raw yet elegant textures, and an unmistakable sense of groove that has aged flawlessly. A timeless classic…

Father Hervé and son Louis return as FRONTMASCHINE with “Rühren”, their most accomplished and refined work to date. United by a shared passion for the rawest and most uncompromising forms of EBM, the duo continues to explore the essence of body music while pushing their sound to a new level of maturity.

On “Rühren”, cold, almost chilling polyphonic synthesizer melodies intertwine with their classic relentless drum programming that sits somewhere between the militant precision of DAF and the mechanical drive of the “Commando days” of Front 242. Every track is built around pure functionality: no unnecessary ornamentation, no concessions—just stripped-down, commanding rhythms designed to move bodies.

This is an exceptionally DJ-friendly record. Each cut is crafted for maximum impact on the dancefloor, making “Rühren” an essential tool and a true secret weapon for any DJ devoted to uncompromising body music. Martial, hypnotic and brutally effective, FRONTMASCHINE once again prove that the most direct approach is often the most powerful.

Full Range Motion co-founder 393AD returns to his own label with 'Known Universe EP', providing four more introspective modular-based jams using Perkons as the main rhythm box. The Amsterdam-based DJ, producer, and nightlife devotee opens the EP with 'Void' a percussive, rolling, and fluttering cut. 'Cluster', on the same side, is a devious tool in the right hands with its abstract groundwork and overwhelming single stab 3D sound design. Over on the flip, 'Wall' is straitjacket paranoia-techno in stripped form. Closing this EP is 'Filament', the name itself providing a vivid cosmic image for the track: intertwining, spiralling melodies connecting filmic scenes of interstellar dust.

Deep frequencies beamed out from Brixton’s front line. Four highly sought-after cuts from Grant Dell’s back catalogue that need little introduction now gathered onto a single 12”. The record highlights the infectious and rolling house groove Grant became synonymous with in the early 2000s which is as relevant today as it was then.

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Recorded between 2002 and 2005 the record features ’So Good’ originally released on Jay Tripwire’s Spaced Out and ‘Acid Bubble Baby’ ft. DJ Deano on Stupendous. The other side see’s a reissue of Grant’s Chicago Transit Authority alias with ‘Still Disillusioned’ and also ‘Be Good Tonight’ originally released on his own label, Cove Records.

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Written and produced between 2002-2005 by Grant Dell except A2 featuring DJ Deano.
Remastered by Justin Drake
Pressed by Vinyl Presents
Distributed by Palace Vinyl

Back by popular demand, Shawn Ward's sought-after Forward Motions EP returns on vinyl, giving collectors and DJs another chance to secure a modern deep house favourite.

A respected figure in underground house for more than two decades, Ward has developed a distinctive sound built on warmth, musicality and understated sophistication. Forward Motions EP continues that tradition with four impeccably produced cuts that balance dancefloor energy with timeless listening appeal.

With original copies becoming increasingly difficult to find, this long-awaited repress makes an essential release available once again for a new generation of listeners, while giving longtime fans the opportunity to replace worn copies or finally complete the collection.

Rich Oddie of Orphx and Alex Pi of Pi Electronics introduce Anaxia, a new project arriving on Veyl with the 7-track LP “Maska”.
Built from raw electronics, stripped-down drum machines and a stark post-punk pulse, the record sits somewhere between industrial pressure and the ghostly minimalism of Suicide. It is direct but shadowed, physical but restrained, with vocals from Oddie and Pi cutting through the machinery rather than sitting on
top of it. Oddie’s background in Canada’s industrial underground and Pi’s long-running connection to the Greek electronic scene meet in a sound that feels tense, reduced and fully intentional. KAOSMOS and Florian Engerling add additional vocals, while remixes from In Trance 95 and Veyl regulars Years of Denial extend
the material into darker, more hypnotic territory. With “Maska”, Anaxia deliver a debut that feels fully formed: nocturnal, focused and stripped to its essentials. A natural fit for Veyl, the record draws a line between post-punk, industrial electronics and body music without overexplaining itself.

One of the biggest underground rave anthems of the early 90's produced by Gordon Matthewman (Dj Edge) and Doug Osbourne (Sourmash).

The track perfectly bridged the gap between early 90s UK rave, European hard trance, and sinister warehouse techno. It is instantly recognizable by its slow-building, intense tension, heavy pounding kick, and the stark, ominous, distorted synth stabs that cut through the eerie acid lines.

With its massive dancefloor appeal, it was quickly snapped up for major compilations, notably appearing on the highly influential Reactivate 8 compilation put out by React Records. Original vinyl pressings on the iconic XVX label remain highly sought after by old-school electronic music collectors worldwide. This is your chance to own this Rave Classic on an official Repress from the XVX Label.

LMajor makes his Over/Shadow debut with Deep Deadly Dub, delivering four heavyweight cuts rooted in classic jungle, breakbeat and drum & bass.

From the deep, rolling title track and the rave-ready Bun Down The Place to Screamer with Gilsun and the soulful Be My Light featuring Amy Kisnorbo, this is a versatile release with plenty of dancefloor pressure.

The Sound Of Slip ’n’ Slide, Vol. 2 continues the new series from the legendary Slip ’n’ Slide catalogue, bringing together another selection of timeless house and deep house cuts from some of the genre’s most influential artists.

Featuring standout productions and remixes from Masters At Work, Blaze, Kings Of Tomorrow, Booker T and Cassio Ware, the release showcases the soulful, groove-led sound that has made Slip ’n’ Slide a cornerstone of underground house music.

Including classics such as Funky People, Open Your Mind and Breathe, this second volume brings together a selection of proven dancefloor records in one DJ-friendly vinyl package.

With warm grooves, uplifting vocals and timeless club arrangements throughout, these tracks continue to resonate with both long-time house collectors and DJs looking for reliable dancefloor material.

As the second edition in The Sound Of Slip ’n’ Slide series, this release builds on the success of the collection, bringing more essential catalogue favourites back to fresh black 12" vinyl.

A strong catalogue addition for stores supporting classic house, deep house and soulful underground sounds.

2026 Repress

Portugal's Dextro returns for second EP of stylish deep techno on Mutual Rytm with ‘Planets And Stars’. Dextro’s tunes have long been a staple of Mutual Rytm label head SHDW's sets, with the esteemed veteran previously landing on the label with his ‘Covil Dos Abutres’ EP last year. His return with ‘Planets And Stars’ features a selection of his most requested IDs from recent times, with the Portuguese DJ/producers featuring as a longstanding favourite within the European underground since the 90s through his stripped-back, economical sound that is rooted in masterful design and intuitive grooves. He is a true studio craftsman, whether going deep or more destructive, and that range is on show here as he makes a splash for his sophomore outing. SHDW notes, “‘Planets And Stars’ feels like his most refined and focused work to date. It also further strengthens our relationship, rooted in a shared vision and values around music and how it should be presented.” The EP kicks off with the heavyweight ‘1000 Places’, a track that will rattle walls as eerie synth whispers and sonar blips snake through the mix. ‘Industria Acéfala’ is just as hypnotic with a deep blend of rolling bass and rooted kicks, while unsettling tension comes in the one-note synth loops and scratchy texture. ‘Planets and Stars’ provides an intergalactic trip with cosmic dust, conscious spoken words and an infinite horizon that has you gazing off into the distance. The all-consuming ‘Perpendicular’ is shadowy with impish motifs darting about the mix as watery droplets fall into cavernous kicks. ‘Winter Letter’ is the final 12”cut and is perfectly deep, linear techno with gorgeous ambient details that turn your thoughts inwards. Three digital bonuses expand the trip: ‘Torresmos com Pão’ is unsettling and sparse, ‘Historia da Vida’ ramps up the tension with oversized hi-hats and rising synth turbulence and finally ‘Ghost Particles’ has shimmering bell sounds evoking a spooky moon-lit church in the dead of night.

Killer Groove Records presents a new 7" by Electric Circus, pairing "High Fever" and "Ogres": raw, hypnotic funk built on obsessive bass lines, sharp horns, dub delays and wah-wah guitars.

Both tracks are taken from Rites, the band's second studio album, out November 27 on limited-edition LP, CD and digital. The 7" is limited to 500 copies worldwide and is out September 25.
On the A-side, "High Fever" maps Electric Circus's territory: '70s funk, Afrobeat and psychedelia meet in a steady build toward a climax of synths and groove. The track grew from a bass line written over one feverish weekend and runs as a single continuous rise in tension.
The groove takes its cue from The Meters, locking syncopated accents into place while a punchy horn section cuts through from the opening bar. Dub delays and layered textures then open the arrangement out, trading space with wah-wah guitars and a treated clavinet that sounds vintage without dating the mix. After a darker, nocturnal passage, the saxophone rises over percussion and synths for the climax.

On the B-side, "Ogres" was the first track conceived for the album and the last to be completed. It began as a bass-and-percussion ostinato in an Ethiopian pentatonic scale, modelled on a war march, and grew into a dense groove with psychedelic and trip-hop textures. Its rhythm conjures a twilight bestiary of dark, menacing or perhaps merely curious creatures, building to a tense climax before resolving into a smooth, dreamlike finale that suggests awakening, or re-emergence.

Like the rest of Rites, both tracks started in jam sessions and were recorded in stages: live takes of the core arrangements first, then dedicated sessions for synths, horns and overdubs. Marco Sirio Pivetti engineered at Metrò Rec Studio in Riva del Garda, Gio Solo at Sberdia Studio in Turin. Overdubs were reamped through tube amplifiers and analog outboard. The band co-produced with Pivetti, who also mixed; Riccardo Ricci mastered at Velvet Room Mastering Studio in Brighton.

Electric Circus are based in Turin. They released their debut album, Canicola, in 2018 and have toured the U.S. Scoring Contrecourant (2021), a documentary series shot in Senegal and Mali, led them to Sahel Roots, a duo from the north of the country. The two groups recorded On est ensemble (Mieruba, 2023) remotely between Turin and Bamako, each writing two pieces for the other to finish.

For fans of The Heliocentrics, Calibro 35, BADBADNOTGOOD.

First released in a long-out-of-print limited-edition 7" box set, this album, now released on LP and CD, brings together 10 amazing, unreleased Studio One tracks, only ever released as extremely limited-edition hand-etched one-sided dubplates (most of these sold out in less than 2 hours!). Studio One Dub Plate Special brings together all 8 of these exclusive dubplate unreleased cuts, plus two more also never before released alternate cuts. Featuring Alton Ellis, Cedric Brooks, Brentford Road All Stars, Jacob Miller and more! From Alton Ellis' righteous uplifting 'Black People' to Brentford All Stars’ hypnotic cover of War's classic 'The World Is A Ghetto', groovy instrumental cuts from Cedric Brooks and The Soul Brothers, deep cuts from Alton & Zoot, George Phillip and Jacob Miller's wicked alternate cut of Dennis Brown's classic 'Westbound Train', all make Studio One Dub Plate Special a truly unique Studio One release

LowMoneyMusicLove coming through with some new friends. Volume 3 brings together TC80, Saharty, Ivo Reiderman and JJ Fortune for four distinct cuts.

TC80 opens with sleek, restless machine funk before Saharty takes things somewhere rougher and more twisted. Ivo Reiderman brings a brighter, sun-dazed energy to the B-side, with JJ Fortune rounding things off in his unmistakable style - low-slung, shadowy and quietly menacing.

New friends, proper grooves, "LowMoney feeling". Vinyl only.

2026 Repress

Macedonia's own Stojche is Fuse's next guest for the club's freshly made imprint. The long standing DJ and producer has been known to keep Detroit's playfully hybrid style as the focus of his work and 'Metaphor' is the case in point. His four tracks bounce through a nostalgic balance of techno, house, and more with a modern crisp. A refreshing take on club music, Stojche keeps techno's sometimes nonchalant attitude at arms length with a charismatic record that hits its mark with every measure.


The record's first track 'Counterpunch' features heavily lined percussion but still brews up a storm far and wide with resonant dub stabs and open hi hats. The drum machine boasts a full spectrum, rolling through a light show of melodic flashes, perfect for a room compressing soundsystem. The maximalist, vintage detail that Stojche brings to his compositions blurs the lines between classic genres in a time of hasty hybridization, which gives it a sort of authenticity that can't be taken for granted. 'Chordal Tribe', on the other hand, raises the general euphoria of the EP. Luring in the listener with bright pads and full-on drums, Stochje's work is reliable main slot material that adds color to any mix while providing a persuasive low end. Shimmering hi hats give it an ethereal quality making it an appropriate interlude for almost any context. Moving on to the B side, the producer sharpens up his rhythm and emphasizes the hardgroove influence in 'Signal Drive'. Softening the pace of his drums with free use of melodic chord stabs, Stojche opens up his dance floor for a crowd bonding record once again, complete with filter transitions and pummeling toms. As the final contribution, his title track 'Metaphor' begins with a more obscure opening to conclude his EP for Fuse. Leaning more to a techno cut, the record remains flamboyant as ever with open hats and rides shuffling through his arrangement. A muted main synth becomes apparent to focus the energy of the track while allowing for liveset-like drum flickering to take shape beneath, claiming the immortality of old club records with the technical precision of a seasoned modern producer.

Det Gode Selskab continue their quest as they call on Berlin-based Italian artist Busso. An artist who continues to express himself through a multitude of vibes and sounds, fitting perfectly with the free-flowing DGS ethos. ‘Anna In The Jelly’ wanders between four different cuts, teasing animated deep house energy combined with stripped-back minimal flavours. A reflection of Busso’s versatile taste, he encapsulates four sure shots for your summertime record bag. A tale for the sun worshipping dreamers, soundtracking the warmer months.

Diving straight in with ‘Sexual Desire’, Busso delivers perky and playful peak-time action, with a clean-cut, feel-good energy from the word go. A vintage feel emerges through the vocals and crisp drums, working in sweet harmony. Slick hi-hats lead the way in ‘Don’t Be Afraid’ before you are confronted with a killer elasticated groove synonymous with the Italian’s sound. Beautiful chords appear at the midway point, spiralling into paradise.
The B-side kicks off with the title track, constructed in a distinct chunky manner. Squelchy mechanical tones manoeuvre around the mysterious drive of the track. Moody as it moves, it’s one for the darker nights on the road. Last but not least is ‘Red Print’, tightly packaged and incredibly detailed, with quirky obscurities flashing throughout. A steady motion perfectly sets the tone as you start to build the floor.
This record cements an exciting future for the label, as they look to continue elaborating on their catalogue, ever-evolving and expanding their width of sounds with one of the most exciting prospects currently in the German capital.

This release is more than just a collection of tracks—it’s a statement of identity. Rooted in the raw energy of acid, techno, and house music, every sound, groove, and hypnotic sequence reflects a commitment to authenticity and creative freedom. In a world that constantly pushes artists to follow trends, staying true to who you are is one of the most powerful things you can do.

This project was created without compromise, driven by a genuine passion for underground electronic music and the belief that honest expression always resonates the deepest. The acid lines cut through with intensity, the techno rhythms drive relentlessly forward, and the house elements bring soul and movement to the journey.

We truly believe in this release because it represents exactly what we stand for as artists: originality, integrity, and a dedication to the music that inspires me. This isn’t about fitting in—it’s about creating something real. Turn it up and experience the sound of staying true to your identity.

Global Dance Archive returns for a second volume, preserving another three previously digital only 90's deep cuts on wax. This time featuring Alien Mutation vs. Indigo Egg, Atom™, Hydra and a new remix from Alvar.

CLUB U NITE RECORDS PRESENTS: HIS MASTER’S VINYL EP

Club U Nite Records takes it straight back to the early ’90s with four raw and swinging house cuts.

Manhattan Project opens with “Shufflin’ On” – a fat, slamming shuffle groove packed with jazzy touches, swinging drums and a classic old-school organ. “Everybody Move” follows with chunky Rhodes loops, soulful samples and a straight-up floor-moving vibe. Killer!

On the flip, Black Chunes Productions delivers “Jerk Yu Body”, channeling the raw swing and chord-driven energy of the early-’90s New Jersey vibe. Shuffled hi-hats, snares and dark leads bring the groove of that era straight back.

Reign Of Rhythm closes things out with “Organic Pressure” – stripped-down, driving, dope organ house. Minimal, but seriously fat.

Four cuts of pure 1991-inspired house gold.

Groovedeep, the international supergroup comprised of Toronto’s Ciel and DC stars James Bangura and Jackson Ryland aka JR2k, brings Fixed Rhythms a 12” of four racing, groovy, energetic, funky and lush techno cuts. This is the second vinyl outing by the group, the first one being the recent “Funk Solo” on Turbo Recordings featuring remixes by Batu, Shed, and Mark Broom.

“Speed Queen” opens up the EP with hypnotizing techno that eschews any four-on-the-floor demands. Up-tempo with a touch of house and handdrums and a tantalizing vocal clip. “Witness” has a similar structure…handdrums, non four-on-the-floor kick drum composition, rhythmic vocal chop-work, but whereas A1 is the leap into the deep, “Witness” has us diving down, exploring the eerier depths.

Whip to the B-side with “Flashback”, a slightly more east coast club track while also incorporating a bit more of a pummeling kick. The aforementioned Groovedeep sonic signatures are there, and…can’t get enough of the handdrums?!?! Well then just let that last “Witness (Bongo Heavy VIP)” track slide in, a slightly meaner (and of course bongo-ier) boom of a take on the A2.

Don’t let this one speed by you!

Tokyo Riddim Band continue their journey striding across times and cultures, this time with their colourful keyboardist and frontwoman Mimi Kobayashi breathing new life into a song she originally penned in 1981. ‘Lazy Love’ first featured on Mimi’s highly sought after Coconuts High LP, which she recorded in LA recruiting top session players to play alongside her. It was also included in Time Capsule’s 2024 compilation of Japanese reggae - Tokyo Riddim 1976-1985.

This soulful pop tune turned deep dub cut retains the romantic charm of the original, whilst the tasteful performances of the Tokyo Riddim Band and Ras Tavaris combined with Prince Fatty’s studio magic give the song a newly found depth.

London based Tokyo Riddim Band is a unique fusion of cultures, bringing together the vibrant energy of three generations of Japanese female musicians with the eclectic sounds of London. Their dynamic performances blend reggae drums, funky bass lines, and the smooth City Pop guitar, all magically dubbed-out live on stage. This is not just music; it's a cultural phenomenon, offering a fresh and exciting take on the reggae scene.

2026 REPRESS
Twelve tracks of morphinous, skeletal drift-sound wonders from the combined voices, guitars and percussion of ALAN SPARHAWK, MIMI PARKER and ZAK SALLY.
Diverse and painless songs that cut simply but effectively through heart-strings and nervous systems, leaving an absorbed and beautiful corpse in their wake. Features added instrumentation of strings, piano and timpani.

Four dub cuts rooted in bass, space, and smoke. No titles, no names. Pressed for the system.

After a long-awaited break from the format, Smokin’ Sessions returns to vinyl with a very special limited-edition pressing of Rowl’s Signal EP.

Since launching in 2007, Smokin’ Sessions has built a reputation for deep, bass-driven music and a vinyl catalogue that has become an important part of the label’s history. After quite some time away from pressing records, SMOKE046 marks the label’s return to wax — presented on limited-edition transparent blue vinyl.

At the centre of the release is longtime Smokin’ Sessions and Deep Heads artist Rowl, returning with four cuts rooted in the deep 2-step, garage and bass sound that has defined both his own productions and the label over the years.

Opening the record is Versa & Rowl – “If You (Rowl’s Grey Skies Remix)”, a weighty reworking of an unreleased Versa & Rowl dub. Raw, swung drums, deep sub pressure and a distinctly old-school UK garage atmosphere run throughout — a sound described in early feedback as a “future retro garage classic” with that early deep dubstep / 2-step crossover feeling. The remix has also picked up support from Mat The Alien, BunZer0, Deep Tempo and Richard Dorfmeister, amongst others.

“Signal” follows — a heavy, stripped-back 2-step roller built around swinging drums, commanding low-end and Rowl’s unmistakably deep production style. The track represents the classic Smokin’ Sessions sound while pushing it forward with the precision Rowl has developed over more than a decade of production. The track has received strong DJ support, including J:Kenzo, who called it a “Great track”, Synkro, BunZer0, Mat The Alien and others.

On the B-side comes “Sierra” featuring Bristol lyricist and vocalist P.A.B MC. Written and recorded together in Bristol, Sierra takes things into warmer territory: chilled two-step garage rhythms, dubstep-weight low-end and an almost astral atmosphere underpin P.A.B MC’s melodic, conscious vocal delivery. It sits somewhere between soundsystem music and reflective storytelling — equally suited to a late-night system or headphones.

Early response to “Sierra” has already included Synkro, who described the track simply as “Killer”, alongside further underground DJ support.

Exclusive to the vinyl is the instrumental version of “Sierra”, giving the full production room to breathe and making this pressing an essential version of the EP for DJs, collectors and anyone wanting to hear the depth of Rowl’s production without the vocal.

Rowl first appeared on Smokin’ Sessions in 2011 and has remained closely connected to both Smokin’ Sessions and Deep Heads ever since. His catalogue includes collaborations with Versa such as Lunar, Jupiter and Solstice, alongside his 2013 Cosmic Visions EP. His music has previously received support from Don Letts on BBC Radio 6 Music, Tim Parker on NTS, Synkro and J:Kenzo.

For the physical release, no corners have been cut. The record has been vinyl cut and mastered by Beau Thomas at Ten Eight Seven (Ten Eight Seven Mastering) — one of the most respected engineers in UK bass music and someone whose experience with low frequencies and vinyl makes him the perfect choice for a Smokin’ Sessions pressing.

The Sound Of Soulfuric Vol. 3 continues the label’s commitment to vocal-led, soulful house music, bringing together four standout cuts that balance classic songwriting with contemporary club production.

This is another DJ-focused selection built for the dancefloor, moving between uplifting vocal house, deep grooves and energetic remixes. From the driving Romeo Louisa rework of Urban Blues Project’s ‘Testify’ to Souldynamic’s take on The Lab Rats’ ‘Music Is My Way Of Life’, each track brings its own character while keeping the Soulfuric sound firmly in focus.

Featuring vocals from Jay Williams, Lisa Millett, Michelle Weeks and Kelli Sae, with remixes from Romeo Louisa, Souldynamic, Fouk and D’Ambrosio & Tappert, Vol. 3 brings together some of the scene’s strongest vocal talent and production names across four highly playable house cuts.

CER015 sees Celestial Echo bring back one of the great modern soul 45s, Ramsey & Company – “Love Call”.

Coming out of New York in the late ’70s, Ramsey & Company was led by Mainor Ramsey, with the group originally playing the Catskills supper club circuit. Their only single was released privately on Ramsey’s own Ramco label, with copies sold at shows and barely making it into wider distribution. Like so many great soul records, it found its real afterlife much later, becoming a favourite across the UK modern soul and rare groove scene.

“Love Call” is the reason this record has carried such a reputation for so long. A beautifully arranged modern soul dancer, it has that perfect late ’70s balance of groove, song and musicianship. On the B-side, “Leg Grease” brings the funk.

Original copies are now almost impossible to find, often selling for serious money when it turns up and even the Lotus Land reissue has become expensive in its own right. This Celestial Echo edition puts the track back into circulation properly, cut loud and ready for the DJs and soul heads who have been waiting on a clean copy.

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

Courtney Storer is Aerofunk, a UK producer who broke out back in 2023 and has been dropping heat ever since., This new EP for Funk Dubs is no different: 'At The Tone' opens with a blend of woozy synth tones and answering machine messages that are offset by gritty and cold drum textures that remind of early tech house greats. 'Relax' is another cut that blends body-popping and elastic bass with snappy drums and odd samples that work perfectly. 'Wet One' is a hot stepping acid-laced tech house slammer with plenty of machine soul and 'White Heat' then closes with more hefty drums that spark plenty of physical reactions and come laced with tactile synth designs.

The Saint Wax label branches out with a new series of edits from founder Eduardo Barbi aka Gledd, who traverses funk, disco and soul across five irresistible cuts. 'Street Preacher' has a spoken word that reminds of early rap days paired with a rousing choral backing, then 'Stevie's Word' turns up the funk with a chunky bassline. 'Do It For Me' is another gospel-fuelled pumper with big stabs ramping up the intensity and then 'Under The Moonlight' is a classy disco stomper lead by florid and chunky funk in the drums. 'Your Love' is an excitable finish with big horns, bigger chords and even bigger vocals. It's big, basically.

The wonderful Scruniversal takes a sidestep into electro here with a remix of a tune by Liza Gromova, a talented musician and rising star in the pop and indie world who hails from Moscow. Lipelis reframes her 'Papa, Poputny Veter' with 80s synth shimmers, glassy melodies and minimal electronics that maintain the emotional vocal of the original and manage to marry its optimism with a bittersweet edge. The flipside instrumental is another intimate sound but with an irresistible groove that will appeal to wave and Italo fans. Two ageless cuts that are subtly hooky.