Cerca:d product

A brand new special edition gatefold vinyl run of Nu:Logic's seminal 2013 album 'What I've Always Waited For', which features cult D&B classic 'Everlasting Days (feat. Lifford)' as part of the LP product for the first time ever. Wrapped up in Hospital Records' 30th anniversary celebrations, it was a no-brainer to resurface this integral part of the label's history - one of the many timeless contributions that Nu:Tone & Logistics have graced the label with..

When I first heard YELKA play I thought to myself: “I’d like to play in that band.”

In the meantime I have realised that it would not be as easy as I imagined. The fluffy easy sound that gets created is so particular that it would not be so easy to execute those exact sounds of the band. This is mostly due to the unconventional harmonies of the guitar. Daniel himself said he is content with the guitar and added an extra one on almost all of the songs. Which I, as a fan of Daniels anarchic approach to playing, love.

Also Yelka’s groovy smooth bass playing is in the forefront of the album once again. Her sound bounces through the guitar riffs as if it's the most common thing on earth. Once Yelka adds her vocals to the songs, that’s when they almost become pop and reminiscent of Velvet Underground.

Christians drums hold these two together through the track list, with a fun Krautrock and jazz influenced style. Everything was recorded live and it sounds fantastic!

The 6th track of the YELKA album "Jeans" is a highlight with the piano support from Federico Corazzini, who adds lush open jazz chords to the incredible intricate harmonies of the band. Arne Bergner (Studio Popschutz) who is once more responsible for the production of the album, also added a beautiful choir arrangement. The finishing touches completing YELKA´S wonderful sound as always added by Norman Nitzsches Mastering (Mokik Studio).

From top to bottom an amazing album: "King of the World" (Steely Dan cover), a pop song with a fantastic keyboard solo from `the one and only Dan Ra´ alias Daniel Nentwig (The Whitest Boy Alive), "Moon for Now", an atmospheric jazz-ish tune, to "Walking Whispering", a strong 9-minute guitar heavy number... I think there are more than two guitars in this one.

American indie rock/pop/jazz whatever - school (after all, it's the third album in the band's America trilogy) and yet above all Berlin, in its most likeable and perhaps even coolest form.

Masha Qrella

After some hiatus, Texas' pioneering Uni.Form records label owner, Jake Childs, returns with "Then & Now": a compilation of tracks spanning 20 years of visionary musical production.

Forever exploring the boundaries of house and techno, "Then & Now" showcases Jake's pursuit for unity whilst playing soundtrack to a personal narrative.

For the first time in decades, The Clash’s iconic track ‘Should I Stay Or Should I Go’ will be released as a 7” single on colour vinyl. With brand new artwork and pressed on sunshine yellow vinyl, this striking product will also feature the full version of ‘Straight to Hell’ on the B-Side for the first time; a nod to the original 1982 7” release which featured an edit of this track. Coming out on June 12th

Sa Pa launches Dub Techno For Life: a dedicated outlet for the artist’s more dancefloor-focused material - work that has largely sat outside the conceptual frame of his previous releases.

The label’s first release, Girls on Tour EP, opens with “Mokira Ultra Dub”, a 10-minute club rework of Mokira classic “Manipulation Musik”. Originally produced alongside an ambient version commissioned for Kontra Musik’s 2016 Kontra X compilation, the dancefloor mix was ultimately shelved until now. With Andreas ‘Mokira’ Tilliander’s blessing, it finally surfaces as a standalone Sa Pa production. A track too banging to go unreleased.

“Waiting For You” traces back to Sa Pa’s orbit around the giegling ecosystem via FORUM. Once lined up for an official release on the parent label before plans stalled, the track slipped into the archives. Buoyant and disarmingly pop by Sa Pa standards, it finds its place here as the A2 - tuned to the collective memory of mid-2010s German house music.

Harnessing the spirit of Chain Reaction from the abandoned patches and borrowed machines of a rainy night’s recording in Taipei, the B-side’s “Modular System” captures a late-night, one-take modular jam. A broken yet hopeful “World Saving Banger” closes the EP with some raw and IDM-leaning force, showcasing Sa Pa’s new label - and the Girls On Tour EP - as a space for neo dub techno ideals to take shape.

Back on Planet Sneaker with his infectious, raw-as-sushi take on UK funky, French MPC maverick Kaval presents another four-strong salvo of wavey 4/4 workouts heavy on the drums and loaded with ear-snagging hooks. The past year saw the Toulouse scene stalwart launch his own KVLDUBS 12” series and appear on Parisian label Nowadays.

Kaval certainly sounds in fine fettle as he bowls back our way, kicking off proceedings with the air horn x bass squelch firestarter ‘Lavawheel’. It’s loaded with such hefty squarewave low end it feels like it could fall out the bottom of the speaker at any minute, all the while stamped down by a bouncy UKF thump. ‘Basement Woi’ twists up a knottier rhythm, but the cheeky vocal samples keep flying out of the mix to keep the vibe infectious.

On the B side, ‘Sonic Boom’ has a slightly more techno-spirited demeanour to the production, albeit never at the expense of the hefty subs. That leaves it to ‘Tek Talk’ to mop up with a twitchy construction dancing on the edge of electro in the tweaked-out, early 00s spirit of the word. With bags of personality and equal amounts swagger and fun, on SNKR066 Kaval maintains his position as a free thinker for the possibilities springing from the UK funky formula.

Butch returns to Rekids with the ‘Official Bump Call’ EP. Riva Starr steps up with a Warehouse remix.

German DJ/producer Butch returns to Rekids with the ‘Official Bump Call’ EP 22nd May 2026. It marks his first release on the label since 2011’s ‘Raw Beats’ two-tracker, followed by a 2018 appearance remixing Basement Jaxx’s ‘Good Luck’. This time, Snatch! Records boss Riva Starr joins for a remix fresh off the back of his ‘Shine A Light’ EP on Radio Slave’s main imprint.

“‘Bump Call’ and 'Foxtrot Uniform' are messages from old-school players to new-school fools. At a time, when everything revolves around health, discipline, and maximising output – more shows, more structure, more money – this EP is a reminder of where it all came from. From a scene that wasn’t optimised, but lived. From DJs who didn’t just perform – they partied. Yes, times have changed. Even I’m on that fitness wave now, living cleaner and more focused. But this record isn’t about that. It’s a nod to the chaos, the excess, and the raw energy that defined an era. A reminder that it wasn’t always about performance – sometimes it was just about crossing lines” - Butch

Butch’s Official Bump Call' plays with live, loose, and funky drum breaks that ride a swollen bassline. Toms and congas pepper the groove as steamy vocals inject the soul. It's a dusty, heartfelt House sound that balances vintage samples with his signature production prowess, making for a sure-fire summer heater. Riva Starr is an equally influential producer who heads up the Snatch! label and has been turning out essential House sounds for many years. His remix beefs up the drums while keeping the slow-burning vocal heat front and center, creating a devastatingly deep yet driving sound.
'Foxtrot Uniform' is another tasteful jumble of soul, funk, and gospel motifs with a lived-in house groove that's instinctive and real. Emotions bubble up but never boil over as the tension builds, culminating in an utter dance-floor release when the diva's vocal erupts. It's a masterclass in control and release.

Butch has a vast discography spanning labels such as Life And Death, Running Back, Defected, Innervisions, Diynamic, Starr’s Snatch!, and many more, while traversing myriad subgenres. He does it all, from intricate minimal with Ricardo Villalobos to Eastern-inspired psychedelia and pounding, prime-time Techno.

Founded in 2006, Radio Slave’s Rekids expanded with the techno-focused Rekids Special Projects in 2017 and its latest sublabel, REK’D, in 2024. With Matt Edwards as sole A&R, Rekids continues to champion emerging and established artists alike, remaining a trusted home for house and related sounds, with recent releases from DJ Minx, Echonomist, Tal Fussman, and more."

Cyphon Recordings continue their deep dive into the rich heritage of UK and Detroit electronic sounds with their second label release, this time from Danny Was A Drag King label boss DJ Rocca.

Active since the 90s, the Italian producer is a dedicated explorer of the Italo Disco-inspired sounds native to his home. He’s been plotting his sonic journey for decades, making pit stops at labels across Europe including Rekids,Toy Tonics, Slow Motion, Rotten City Records and Roam Recordings. On top of his solo outings, collaboration has played a big role in his production journey to date. He’s worked with artists like Howie B, Jazzanova and Zed Bias, as well as joining forces on ongoing projects with fellow Italian stalwart Daniele Baldelli and Dimitri From Paris, the latter under the name Erodiscotique.

Now back on his solo pursuits for Cyphon, Rocca proves he’s still very much at the top of his game. The four cuts on ‘Code 041’ explore all shades of electro, from raw, old school machine funk to futuristic cosmic sounds. It’s electro done the Rocca way.

The title track sets the tone. An eerie bass line crawls along, providing a bed for reflective pads to glide and mysterious synth sounds and echoing vocal samples to ricochet above. ‘No Gym’ greets us next, bringing that Italo flair Rocca’s mastered so well. It’s the most vibrant track on the release, matching colourful pinging synths and tropical-tinged melodies with a signature driving acid bass line.

On the flip, ‘The Bigger Lake’ takes the EP in a different direction, on a trip through dark glistening pads, tittering percussion and sub aquatic bass before the dusty breaks and moody, jazzy keys of ‘Omega’ bring the release to a close. Mirroring Cyphon’s label ethos, Rocca showcases the best of the past and present of a timeless sound.

RAWAX proudly welcomes legendary Fresh & Low to the family!
Rawax are very happy to present you in future most of their amazing past productions on the new "Treasures" series.
Starting with groundbreaking LITTE "i" EP from 1997!

SLF IMG is a dark synth pop project channeling the shadowy elegance of the 80s while injecting raw EBM drive and the hypnotic, sun-bleached nostalgia of classic italo disco. Their forthcoming EP “Carne” – Italian for meat – sinks its teeth into the genre with sleek, modern production, razor-sharp hooks, and basslines so catchy they feel almost carnal. Seductive yet menacing, “Carne” strips the sound back to its pulsing, flesh-and-wire core: dancefloor-ready grooves wrapped in velvet darkness.

Limited to 200 copies on splattered vinyl.

Re issue of the album on LP as previous versions had all sold out and were deleted.
Global Dance phenomenon Sammy Virji’s sophomore album ‘Same Day Cleaning’ sees the renowned party starter deliver UK Garage to the world like no one before. The new album is rooted in Sammy’s unmissable club ready production style and features a slew of legendary rappers & producers. The project lands after an insane year of global festival and headline touring for Sammy. ‘Same Day Cleaning’ follows Sammy’s hugely successful ‘If U Need It’ and his follow up singles including club mainstay ‘Damager’, with Interplanetary Criminal. The album also features Sammy’s massive link up with British icon Skepta, ‘Cops & Robbers’. ‘Same Day Cleaning’ is bigger, bolder and promises to propel Sammy Virji even further onto the global dance-music stage

Genesis' Foxtrot is the band's fourth studio album, released in 1972. Regarded as one of the seminal albums of the progressive rock genre, it marked a significant milestone in Genesis' discography.

AllMusic's Stephen Thomas Erlewine says Foxtrot is where where Genesis began to pull all of its varied inspirations into a cohesive sound. The startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power, he writes, giving the album a 5-star review.

"There's might and majesty here, and it, along with 'Get 'Em Out by Friday,' is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases, and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundant, as there are passages throughout the album that are hauntingly evocative in their precious prose." — AllMusic

This is the rare art-rock album that excels at both the art and the rock, and it's rightly celebrated for its enduring impact on the progressive rock genre, making it an essential listen for Genesis fans.

Analogue Productions has given Foxtrot the deserving full reissue treatment: Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Gatefold Single LP Pressing of Threat To Survival on Clear Red Colored Vinyl.

Multi-platinum, record-breaking band Shinedown - Brent Smith vocals, Zach Myers [guitar], Eric Bass [bass, production], and Barry Kerch [drums] - have sold more than 10 million albums and 10 million singles worldwide, earned 14 platinum and gold singles, five platinum and gold albums, and amassed more than 2.7 billion total streams. Recent hits "Atlas Falls," "ATTENTION ATTENTION," "GET UP," "MONSTERS" and "DEVIL" bring their total to 17 No. 1s on the Mediabase Active Rock Chart and 16 No. 1s on the Billboard Mainstream Rock Songs Chart, breaking the record for the most No. 1s ever in the history of the Billboard chart. Additionally, all of Shinedown's 27 consecutive career singles have reached the Top 5 of the Billboard Mainstream Rock Songs Chart, another unparalleled achievement.

As part of their “Atlas Falls” COVID-19 relief effort, Shinedown has raised more than $300,000 for Direct Relief, one of the largest providers of humanitarian medical resources in the world whose mission is to improve the health and lives of people affected by poverty or emergency situations by mobilizing and providing essential medical resources needed for their care.

Hailed for their high-octane live shows, Shinedown continues to engender diehard love from millions of global fans and has racked up countless sold-out tours and headlining festival sets.

The fifteenth album by Stevie Wonder, originally released in October 1972. As the second of five consecutive albums which made up Stevie's classic period, Talking Book found Wonder at the top of his game, combining tight song writing with warm electronic arrangements and effervescent vocal performances. Released in 1972 and sandwiched between the release of Music of My Mind and Innervisions, Talking Book saw the then 22 year-old Wonder enjoying more artistic freedom from Motown, taking over the production reins and playing most of the instruments himself. As a result, the sound of the album is sharply defined by Wonder's exquisite keyboard work, and his use of the Hohner clavinet model C on Superstition became widely regarded as one of the definitive tracks featuring the instrument. Despite making the majority of Talking Book himself, the album also benefits from the talents of guest guitarists Jeff Beck, Buzzy Feton and Ray Parker, Jr who featured on Maybe Your Baby and Lookin' For Another Pure Love.

Unlock the allure of The Hot Spot through its unforgettable soundtrack, a captivating collection that brings the film's sultry ambiance to life.

Set against the backdrop of a small Texas town, The Hot Spot follows Harry Madox, a charming drifter with a dark past. As he arrives in town, he becomes embroiled in a web of seduction and deceit, navigating his way through a love triangle involving the sultry waitress, Gloria, and the alluring femme fatale, Dolly. Tensions rise and passions ignite, leading to a thrilling climax where desire and danger intertwine. Directed by the visionary Dennis Hopper, the film is a masterclass in mood and atmosphere, capturing the essence of 1990s neo-noir.

The Hot Spot has garnered acclaim for its stylish cinematography and gripping narrative, but it's the music that truly sets it apart. It's an amalgamation of swampy blues, jazz and rock — all mixed and recorded in a sparse, bloomy and eerie sort of way.

Critics hailed the soundtrack as "an electrifying fusion of jazz and blues that perfectly complements the film's seductive undertones." The blend of sultry melodies and haunting instrumentals creates an immersive experience that resonates long after the credits roll.

This recording is just so damn fine, so airy and warm. And the musicians aboard on this Dennis Hopper film are a who's who, including Miles Davis, John Lee Hooker, Taj Mahal, Roy Rodgers, Earl Palmer and Tim Drummond. This has long been a highly sought-after and collectible record among audiophiles. This soundtrack is essential for any music lover or film buff, capturing the very essence of the film's seductive spirit.

Rose Connolly has a beautiful voice with a wide melodic range, which she bends, twists, strains and warps through both her physical exertions and a sample-based granular synthesiser. The results recall both the Gaelic tradition of séan-nos singing, and the work of experimental artists such as Meredith Monk, Yoko Ono and Hatis Noit, while the beats meld folk with gothic, 4AD-era soundscapes unmatched since the glory days of This Mortal Coil.” – The Guardian (10 Best Folk Albums of 2024) “RÓIS is a composer, vocalist, multi-instrumentalist, and electronic artist from Fermanagh, whose songs breathe new life into a forgotten Ireland. Self-released, written and produced by RÓIS with additional production from John Spud Murphy (OXN/Lankum), 'MO LÉAN' is a concept album, taking the listener through the grieving process from start to finish, from the chaos that loss brings, to the intense emotional outpourings and finally, a cathartic release.

‘MO LÉAN' features several new original recordings and reworks of songs and hymns based around the concept of death, life, mourning and catharsis. RÓIS re-imagines the tradition of 'keening' in Ireland that goes back to pre-christian times, a practice in which women would 'keen' a lamenting wail at the side of a coffin during a wake. After discovering the last two recordings of keening songs, RÓIS was inspired by their ethereal melodies to give them a modern reworking yet honouring the original women by sampling them in her adaption. 'Keeners', through their voices, movements and laments, conveyed the communal expression of grief and allowed those suffering a way to release their sorrow and loss. RÓIS aspires to do the same with 'MO LÉAN', by expressing the power of the voice to transcend death and help us relinquish our fear of it

DMV-born rapper and producer kuru is already a veteran among their contemporaries. Spurred by the online renaissance that accompanied the pandemic, they began to foster a cult following while in high school, their Soundcloud releases leading to production work with artists such as Black Kray and Destroy Lonely. Over the past few years, as Kuru began to prioritize their own voice, they prioritized their solo endeavors. Growing up in Maryland, kuru was inspired as much by the work of Future, Hikaru Utada, Yuyoyuppe, and the sounds of Japanese math rock as he was by his native DMV’s rap scene. He first began making music in 2019, garnering buzz with early tracks like “clueless”, “typo” (4M Streams), and “atmosphere” (9M+ Streams) — cuts brimming with the catchiness you’d expect out of a mainstream pop hit, but uncharacteristic of the internet rap landscape at the time.

The forthcoming sophomore album is a summation of all of kuru’s work in both electronic and hip-hop. It’s the artist’s most focused effort to date, and touts credits from Lucy Bedroque, frequent collaborator xaviersobased, and a rolodex of Soundcloud’s most cutting-edge producers. “Backstage Hologram” ties together a mosaic of the current internet underground’s landscape with a veneer of dusky futurism, and panoramic wide post-production.

Easy Beat Productions are pleased to announce their latest release, an upbeat horns instrumental which see's Solution Sound System operator and selector Mark Solution join forces with stalwart reggae trumpet player, D.Fullwood AKA D.Cosmic.

Regular attendees of Solution Sound System events will be familiar with this one as it’s been mashing up dances on dubplate for a little while now!

Listeners are treated to the main horns mix as well as a stripped back dub excursion.

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky