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Cody 'Coflo' Ferreira is hyped right now, and for all the right reasons. Spinning all over the world and producing killer tunes on all the right labels (including Local Talk).
But we think he is at his very best when he goes in the studio with US vocalist Lee Wilson. Even though they delivered some great tunes in the past, we can honestly say that this is the best one by far...yet.
The track 'We Can Make It' comes in two versions, one "soulful mix" for all the garage heads, and on the flip, there's a darker and more electronic mix (but still loaded with soul).

Musikalisch bleiben Northern Lite ihrer DNA treu. Elektronische Popästhetik trifft auf clubtaugliche Beats und gitarrengetriebene Rockmomente. Die Songs balancieren zwischen tanzbarem Electropop und introspektiven Arrangements, mal kühl und reduziert, mal warm pulsierend. Es ist ein Klangbild, das vertraut und doch neu wirkt, getragen von klarer Produktion, in der Vocals, Synths und Gitarren zu einem atmenden Ganzen verschmelzen.

Die Texte kreisen um Alltag, Zweifel, Hoffnung und das Sichbesinnen. Statt lauter Parolen gibt es ein Gespräch: direkt, manchmal ironisch, manchmal verletzlich, aber immer mit dem Blick nach vorn. Parallel zur Veröffentlichung des Albums startet im November die Vorwärts Leben Tour, mit der Northern Lite ihre neuen Songs und ihre beliebtesten Klassiker dorthin bringen, wo sie ihre größte Kraft entfalten - auf die Bühne und mitten ins Publikum.

Vorwärts Leben ist kein trotziges „alles wieder gut“. Es ist ein Plädoyer fürs Weitermachen. Northern Lite liefern damit nicht nur ein Album, sondern eine Haltung: realistisch, zugewandt und zukunftsorientiert.

Tre Turner bounces back on Belters4u with two unashamedly old-school Scottish club cuts alongside two remixes from London prog trance upstarts Close Proximity.

With shared spiritual roots in the West of Scotland early 90s rave scene, Belters4U and Tre Turner realise their adolescent dream in releasing this love letter to a decadent lost reality. Title track ”Scottish Piano” amalgamates a million shared moments on Scottish dance-floors and living room afterparties. On the flip, Ultra-Free samples the vocal hook from the ultimate Scottish old skool rave anthem ”Obsession” by legends ‘Ultra-Sonic.’ Hardcore pianos meet gated synths and thumping solid bass, the sound of many a misspent youth.

Through the haze of smoke and strobes, the Close Proximity Trance Mix recalls the wildest, most ecstatic, face-melting moments from the legendary Metro and Hangar 13 clubs. Close Proximity round things off by taking you further into euphoric dreamland with their ever-evolving Paradise Mix of Ultra-Free.

Eddie C's Disko Universal continues its run of deep and diverse releases with 'A New Chapter' EP from Southside Chicago legend Ellery Cowles and Austin up-and-comer Open Soul...

Ellery Cowles lives House Music. He's rocked it with Lil Louis, Roy Davis Jr, Steve Poindexter and the Chicago Bad Boys.
Here we dive straight into Midwest territory - raw machine funk, smoky house grooves, and the kind of no-nonsense acid you'd expect from someone with DJAX and Cajual credentials.

Timeless, floor-ready material from true craftsmen - deep groove, no filler.
Sounds like the kind of record you'd pull from a beat-up crate in a corner of Detroit Threads and never put back.

Oslo based house pushers ́badabing diskos ́ follow up their hyped first release with a four tracker covering a fine specter of modern house vibes. A solo jacking house trip from label honcho Vinny Villbass, followed up by mexican/norwegian percussive collaboration of Picotropico and Vinny give you a full summer club journey The secret alias Smalltownboy ejaculates an eminent homage to sweaty dance floor flirts, while house orchestra LAFT shows off club muscles with a minimal studio escapade.

Ralph Rodriguez aka Ralph Session is a Barcelona-based NYC-born house artist who kicks off this lush new Silver Walker 12" with 'Voices Rising', a smooth and song-driven deep house cut with a summery soul and stylish female vocals that hark back to the earliest soulful OGs. DFRA & MissFly combine then for 'Thinking', which is a more percussive and steamy, intense house sound with jazzy chords. Session's 'Love's Dance Floor' (instrumental mix) then taps into smoky late-night soul vibes with meandering leads allowing your mind to get lost in the moment and DFRA's 'Kiss My Soul' closes with a more playful and jazzy sound thanks to the charming flute leads and nimble, dancing keys.

This project seeks connections between what is happening in biogenetics (cloning, biomechanical grafts), in art (the body as a territory to be redesigned), and all modern practices of intervention in music such as remixing, cutting and pasting, sampling.
To consider the sonic landscape as an unstable, moving cell culture, which allows experimentation on the body of musical pieces, on their chemical composition in an entirely artificial way. Surgical score, altered rhythms, reworkings.
Music is a mirror of what is happening in our time.

MIO: Memories in Orbit is one of 2026 best games so far. With a synthwave-induced melody, blissful choir voices echoing the main theme of the game, buzzing electronic noises and a hint of groovy patterns, this track captures the very essence of the game. Reminiscent of other iconic OST like Power Glove’s Far Cry 3: Blood Dragon and Ben Prunty’s FTL: Faster Than Light.

unearthed records "Timeless Choices" marks Moray's debut release on Unearthed-featuring four dancefloor-driven tracks that reflect his distinctive, raw, and timeless sound.

Originally from the Canary Islands and now based in Barcelona, Moray is the founder of Focus On Egoless and remains steadfast in his artistic vision.

Mit TechnoBase.FM Vol. 5 erscheint eine weitere Ausgabe der beliebten Compilation-Reihe auf Vinyl – ein Muss für Fans elektronischer Musik und Sammler hochwertiger DanceReleases. Die limitierte Pressung bringt den charakteristischen Sound von TechnoBase.FM direkt auf den Plattenteller und vereint aktuelle Club-Tracks mit zeitgemäßem HandsUp-, Dance- und Electro-Flair.

Ein echtes Highlight für alle, die elektronische Musik nicht nur hören, sondern erleben wollen – in bester Soundqualität und stilvollem Format

Tom Sharkett arrives on Discotecas hot on the heels of his DFA-released rework of LCD Soundsystem’s ‘Home.'

On the A side is Certamente, driven by a catchy hook — think Tom’s Diner reimagined for house heads — which is followed by an instrumental. On the flip, Pinballed drops into deep, low-slung territory — pure drug-chug at its finest, already getting road-tested on the dancefloor.

DJ support: ALOK, Sam Feldt, Nicky Romero, Barry Can’t Swim, Gorgon City, Arielle FreeAFROJACK, Martin Garrix, Oliver Heldens, Tiesto, Claptone, Fatboy Slim, Dombresky, Mau P, John Summit, Danny Howard, Joel Corry, Oliver Heldens, Low Steppa, Tita Lau and more.

Toolroom’s next Sampler showcases 4 big releases from Martin Ikin, Sian-Lee, Illyus & Barrientos, Sharam Jey, Marco Lys and Weiss.

Ring The Alarm! Nach der Neuauflage von Sister Nancys „Bam Bam“, die eine reißenden Absatz fand, folgt nun der nächste unverzichtbare Track auf dem Stalag Riddim vom verstorbenen, großartigen Tenor Saw. Dies ist die ultimative Soundsystem-Waffe und ein Muss für jeden Selector, der etwas auf sich hält. Zurück mit dem entscheidenden Original-Keyboard-Workout von Ansell Collins Stalag 17, aufgenommen für Techniques, ist Stalag einer der Eckpfeiler der Reggae-Musik, der von einer ganzen Galaxie von Superstars der Musikwelt verwendet und genutzt wird, darunter Big Audio Dynamite, Public Enemy, Run DMC, Alicia Keys, Kanye West, Sublime usw. Ein Original Twin-Killer-Doppelsider – limitierte Auflage in illustrierter Hülle. Verpassen Sie es nicht!

Frenzy ventures deeper into the night with Tarkno's After Hours EP (FRNZYREC011), a six-track journey of tension, drive, and subtle reflection. From the start, the EP pulls the listener into a nocturnal world where momentum and mood shift effortlessly, guiding the night forward with precision.



Deadline begins the journey with a commanding push, sharp percussion and rising intensity setting a restless pace. Anxious builds on that tension, darker and more introspective, its patterns fractured yet deliberate. Jacobworld's remix then takes the track in a different direction, stripping it down to relentless techno energy, where pressure and precision become the story.



As the night evolves, Morning Drive introduces a reflective pause, textures softening and momentum balancing between calm and urgency. Tarkno's After Hours (Original) follows, gradually unfurling into a layered, immersive exploration of the late-night atmosphere, translating the feeling of ultimate momentum. Finally, After Hours (Remco Beekwilder Remix) ignites the closing chapter, hard-hitting and floor-ready, amplifying the energy of the original into a commanding finale.



FRNZYREC011 is a cohesive statement of intent. Tarkno orchestrates tension, release, and pacing with skill, while Frenzy delivers a release that moves seamlessly between introspection and intensity. From start to finish, After Hours EP is a journey through the night itself. Precise, immersive, and unforgettable.

British techno veteran Justin Berkovi joins Somov with three timeless recordings that bridge pounding minimalism and emotive ambience. Cemented in the 90s history books Berkovi's sound lives on as always with timeless energy and emotive power. Adding to the release, label head Ignez contributes a remix of 'Step Up'.

The saga of squelch continues. After the first round proved that the acid line might be the most durable cliché in dance music (and still the best one), part two turns the resonance knob a little further.
Steve Bug & Stefan Braatz, Deetron, Todd Osborn, and Mathew Jonson with The Mole join forces for another ode to the silver box - less museum piece, more perpetual motion machine. Proof that you can't retire a sound that never had a desk job.
Once again, Gasius supplies the visual psychedelia, while the tracks handle the auditory side of the trip.
Dial 303, accept the charges, and remember: the only thing more reliable than acid is its ability to surprise you.

40 Years Techno Club – The 80s Vinyl Edition (Limited Coloured Double Vinyl) Following the huge success of the 4-CD compilation 40 Years Techno Club, which thrilled countless fans with over 60 club hits, the eagerly awaited vinyl edition is finally here: ‘The 80s Vinyl Edition’ – a strictly limited, coloured double vinyl for lovers of electronic music.

This special edition pays tribute to the beginnings of the legendary techno club with iconic 80s tracks by Kraftwerk, Yello, Soft Cell, Tears For Fears, Front 242 and other artists who shaped the electronic sound and influenced an entire generation. The exclusive collage cover, accompanying band
poster and high-quality coloured vinyl pressing make this release a unique collector‘s item for connoisseurs and music lovers.

‘40 Years Techno Club – The 80s Vinyl Edition’ – vinyl that makes history – right on your turntable.

We welcome Alpharisc to Warg Records for the thirteenth release on the label.
Shane's six track EP featuring two digital bonus showcases the fundamental elements that made early 90's techno so distinguishable. This combination of rythmic low end, raw percussion and cinematic synths makes this release unique amongst modern day influences.

It's been a long time coming, but finally the Berlin duo New Frames makes their debut onto PRSPCT Recordings with a powerful four-track EP: PRSPCT332

Built by Mathis Mootz (The Panacea) and David Frisch, New Frames have become a driving force in the darker corners of modern electronic music. Their sound pulls from the roots of techno-rave culture, from its earliest sparks to its current state, by fusing those classic sounds with completely new twists.

Their music blends the intensity of industrial and hardcore but by holding up the momentum of techno and drum & bass. This EP is the perfect example of genre-bending music, hard to keep in just one simple box, but held together by a focused, contemporary sound: Expect this EP to be tense, layered, and engineered with precision.
PRSPCT332 captures all of that energy in four heavy tracks:

A1 Mono Tone
A2 The Killing
B1 Moon 44
B2 The Masterpiece

Out at the end of November on vinyl and digital via PRSPCT Recordings.

New Frames show how it's done once again, proving that genre and BPM boundaries don't really exist.

A collection of earlier and newer works by LFU
combined in one EP.
On November 14, 2025 !K7 Records released DJ-Kicks by Eris Drew. She chose 'Oh Echt' by LFU as the opening track of her mix.
The style of 'Oh Echt' is not easy to categorize. Electronic breakbeats with Detroit hi-hat patterns and a typically pushy four-to-the-floor kick. The funky, staccato bassline and mysterious strings take you back to the eighties and the added funky organs and stabs complete the story. The "Oh Echt" Main Mix is the instrumental mix of the 'Vogel Mix' in which the 'Oh Echtapella' is incorporated.
The first design of 'Boom Boom Tracking' was in 2011 for a DJ/DRUM performance that LFU did. He picked it up again in 2014, but did not finish it until 2024. This big beat floor filler contains chemical beats accompanied by electrostabs and a deep, dark bassline. If you listen intently to this song on a regular audio device, you might notice a thump on every 1 of the 4 beats, but when it's played on a good, big sound system, you can't miss this tension in your stomach. 'Boom Boom Tracking' it is!
Downtempo percussive track 'Tjeetje' is the first track LFU has made in North Coast Studio in 2001. 'Slow Forward' was the third song he completed there in 2003, the same place where he met Ben Baan of Fruitcake, who played the piano part.
Initially, 'Queen Cubana' did not make it as a remix of Eddy Zoey's 'No Soy Cubano' in 2017. In this new version, LFU removed his vocals, except for "Step". LFU took inspiration from Katy Perry's 'Bon Appetit' and turned it into a rhythmic slow jam with carefully programmed beats, resulting in a spectacular funky joint.

5 ausgewählte Italo Disco Maxi Singles in einer Box.

Eine limitierte Sonderauflage für unsere vielen treuen Italo Disco Fans.

Lectric Workers feat. Funny R
Dario Dell‘Aere
Delanua
Claudio Mingardi
Art Fine

Ein Highlight zu einem unschlagbaren Preis!

In the late summer of 1994, Upadhmanyia (John Mackaay & Michel Rehatta) invited Leo Verhoef (LFU) to collaborate on a track. They met a few more times afterward at a power station converted into a studio in IJsselstein, The Netherlands. "Hasiya" was quickly born and was already in stores by early November 1994. John & Leo drove to house club iT in Amsterdam, where they gave the track to DJ Marcello, resulting in an iT hit! The track was quickly picked up by DJs worldwide, and Richie Hawtin used it in a live set in Denver on November 19th of that year, which can be heard on SoundCloud (Hasiya is mixed around 43:00). The track was also a huge hit on dance floors in England and Spain.
In late 1994, Hasiya appeared on a CNR Music EP titled "Welcome To The Club," along with four other hits from producers like Pete Lazonby, The Shaker, and Drum Club. A double CD of the same name followed in early 1995, released in Belgium, featuring Hasiya alongside artists like Robert Miles, Digital Express, Aura, Natural Born Grooves, and other hits of the era. In early 1995, Arcade released "House Party '95 the Kinky Klubmixx," mixed by Koen Groeneveld & Addy van der Zwan. The same CD was released in Scandinavia as "House Party '95 (5)." Hasiya flourished among the most popular house tracks of the time. The record spent three weeks in the Dance Music Mega Top 30 and peaked at number 22 around the holidays of late 1994.
For 31 years, Hasiya was only available on record, CD, tape, or YouTube. Starting November 21, 2025, it will be resurrected from the underground into the world of digital downloads and streaming. The 2025 Remaster, along with five new mixes, will be widely available, including a limited vinyl release of 350 copies. The 30 test pressings have already been received with open arms by various DJs and received immediate support from Eris Drew and Octa Octa during ADE.
Because Hasiya was created in 1994, the only available remix material is the original DAT tape, which, thankfully, was still stored in an old box in a dusty attic. Most of the sounds for the new versions have been recreated and re-recorded.
Rehatta's Reanimated Mix:
This remix - created by one of the two founders of Upadhmaniya - combines driving, percussive beats with a thrilling, progressive break featuring ascending, dizzying strings. This trick returns shortly afterward to rev things up again. An accessible remix for dance floors worldwide.
LFU 2025 Version:
This straightforward, raw techno version with a touch of acid is ready to rock dance floors. LFU's updated version of the 1994 original, which he created with Michel & John, will undoubtedly remain a head shaker from here on out.
John Consemulder Metaphysical Mix:
With a pumping groove and a funky bassline as an intro, John Consemulder's remix immediately strikes a chord. A refined and elegant approach to the original, with sounds as mysterious and exciting as the flowing lava in the 'Gruta das Torres' - a cave in the Azores - the setting where this tech-trance remix was created.
Davje Remix:
Davje's version begins with the typical club and hard-trance bassline of the late '90s. You're drawn into a trance journey where beat changes sometimes try to throw you off track. Davje's creative Hammond organ interpretation of the Hasiya theme surprises and transports you back to the hippie era by the end of his remix.
Bojcot Remix:
Junglist Bojcot creates an exciting, nuanced, and mathematical remix with a beat that feels like jungle and half-tempo. He conjures up the sounds of LFU's 2025 Version, creates a bassline that sounds like a disturbed bumblebee, and adds a surprising string section. Massive!

MAXED OUT MAXI EP OF THE HIGHEST ORDER FROM TAPES, HONOURING JAHTARI'S 20 YEARS OF D.I.G.I.T.A.L. BUSINESS IN FINEST STYLE...LOADED WITH RIB-8-BIT PRESSURE!

Four digital dancehall scorchers with two accompanying 8-bit versions meticulously crafted with the soundsystem session in mind!

Tapes has been spreading wonky saturated riddim goodness since his ground breaking “Hissing Theatricals” EP in 2009. Now, after a brief hibernation in the northern spawning pools, he’s spinning up his reels once again to present a new killer set of amphibian friendly, nintendo-fied sound system depth charges!

The “Photos of My Frog EP” is croaking off with its oddly addictive namesake: a surefire pond party starter – Ribbit! Hopping along, the adorable but tuff “Cleat Skank” and its gameboy driven pollywog follow, swinging their 8bit melody lasso till the cows come home. Yeehaw!

“Ramp Up” on B is a dense and raw FM synth digi banger, sure to fry any nearby circuits, so best beware! “Back Cramp Riddim” then turns up the low end even more and swirls its drums and synths into the next delay vortex, warping into a pixelated 8bit conclusion.

Whatever your taste in insects there’s something on this record for any lover of vintage dancehall and amphibious wild life alike!

These are going to fly out - sticky tongues at the ready!

Bruno Bar returns to Beast River Records with “Movin’”, an almost-peak-time but still classy New York house workout featuring Marie Berson’s whispered vocal that blooms into a soulful hook, in that Floorplan-inspired space of gospel energy and driving drums. Tour-Maubourg flips it into a
dubbed-out Balearic trip with Rhodes, strings and elastic bass for longer sets. “Feel The Dub” goes deeper with bass up front and tasteful vox, while “U Can Dance 2 Jazz” closes with jazzy chords, a sophisticated sax line and a garagey lift

Mit Selenites, Selenites! präsentiert Jimi Tenor das erste Album seiner neuen Band - ein Meilenstein in der Karriere des finnischen Multiinstrumentalisten, der 2025 seinen 60. Geburtstag feierte. Tenor, bekannt für seine genreübergreifenden Visionen, vereint hier Afrobeat, Electronica, Spiritual Jazz und experimentelle Klangwelten zu einem kraftvollen, organischen Sound. Seit den 1990er Jahren prägt Tenor die internationale Musikszene mit Veröffentlichungen auf Labels wie Sähko und Warp Records. Seine Zusammenarbeit mit Künstlern wie Tony Allen, dem UMO Helsinki Jazz Orchestra und Florence Adooni zeigt seine Offenheit für musikalische Kulturen und seine Fähigkeit, scheinbar Gegensätzliches zu verbinden. Die JIMI TENOR BAND entstand in Helsinki und besteht aus fünf virtuosen Musiker:innen, die ihre Stücke live erprobt und verinnerlicht haben. Die Aufnahmen spiegeln diese Energie wider: Direkt, roh und voller Spielfreude. Die Songs wirken wie Live-Mitschnitte - spontan, intensiv und nahbar. Mit Selenites, Selenites! gelingt Tenor ein Album, das nicht nur musikalisch überzeugt, sondern auch seine Rolle als stilprägender Künstler unterstreicht.

Drumcode launches a new V/A series ‘DC4’ inspired by their popular A-Sides compilations. ‘DC4’ showcases a quartet of sure-fire heaters from the label’s extended family of artists. The EP features two mainstays of Drumcode, Timmo and Mark Reeve, while fleshing out the techno sides of Kaufmann and Goom Gum (in collaboration with rising London artists RDNK) after they debuted on Truesoul in recent times. Kaufmann’s curiously titled ‘Broncho’s Sandman’ kicks things off, a punchy slice of dancefloor tackle marked by a catchy vocal line, with a foot in techno and progressive alike. Timmo follows up last year’s tidy contribution to A-Sides Vol.13, with a technicoloured techno cut that bubbles with bags of personality, as any cut titled ‘Miami Vice’ should! The Bulgarian has poured plenty of hours into the creation of the track, which espouses an otherworldly celestial energy. It's been four years since Mark Reeve’s last contribution on Drumcode, with the excellent mini album ‘Breathe’. The Frankfurt-based British producer makes a timely return with the storming ‘Stop, Go’, that fuses together elements of techno, hard trance and pop for an inspired five minute dancefloor workout. Goom Gum & RDNK team up for the first time ‘It’s Time To Get High. The track begins life as a crisp melodic cut, before transforming into a trippy slab of psychedelia in the second half. This is begging to be rinse in an outdoor party setting.

High Focus Records is proud to unveil the artwork for the forthcoming Verb T & Illinformed collaborative album: ‘The Land Of The Foggy Skies’, designed by Siou Escalon.

As you would expect from two of the hardest working artists in the UK rap game, Verb T & Illinformed have delivered a fitting sequel to the iconic 2015 release ‘The Man With The Foggy Eyes’. The pair have both raised the bar, taking their already incredible chemistry to new levels, as demonstrated with singles ‘Rotten Luck‘ & ‘New Paths‘.

An all encompassing cinematic opus, ‘The Land Of The Foggy Skies’ once again proves why Verb T is one of the most decorated MC’s in UK Hip Hop and why Illinformed is in a class of his own when it comes to production.

2025 Repress

The most luxurious of re-edits comes rolling round once again, with the 6th Volume in LUXXURY’s rework series set to hit those platters. Disco from another dimension in its various forms and facets, re-tweaked for the modern dancefloor. All killer no filler, you can’t go wrong here.

In celebration of the 20th anniversary of Daft Punk’s chart-topping third album Human After All, a Limited Edition 2LP gatefold version of the companion album Human After All Remixes is set for release on November 28, 2025. This marks the very first vinyl edition of the complete collection.

Human After All, the third album from Daft Punk, was originally released in March 2005. It was produced in just six weeks, a major departure from the timeline for their previous release, Discovery, which took over two years to produce. A year after the release of Human After All, a collection of Human After All remixes tracks was released on CD exclusively in Japan, including reworkings by Justice, Soulwax, and SebastiAn, among others. In June 2014, an expanded CD version was released (also exclusive to Japan) featuring additional remixes from artists such as Basement Jaxx and The Juan Maclean. The album was made available to stream internationally in August 2014.

Human After All Remixes will now be available for the first time on vinyl in limited quantities.

Originally released in 2005, OK Cowboy, Vitalic’s first album, is celebrating its twentieth anniversary with a reissue in several formats (box set, double vinyl, CD, digital), enriched with rare tracks and previously unreleased versions. OK Cowboy is a landmark album in electronic music, a pivotal record between eras. It perfectly captures that period while also anticipating the raw, abrasive new sounds of French Touch 2.0 (the movement led by Justice and the artists of the Ed Banger label). Twenty years later, the impact and power of this major album still mark it as a defining release of the mid-2000s, retaining its full sonic relevance today.

The electronic producer Franz Kirmann returns to Bytes for his eighth solo album. The “Almadies” are long wooden boats used by Senegalese fishermen. It is also the name of the neighborhood where Kirmann grew up, in the suburbs of Dakar, Senegal, near the Atlantic Ocean. "These new compositions are the result of sound experiments conducted over the past few months and reflections on the concept of mind-constructed geographies," Kirmann explains. "The way memories and souvenirs shape an image of a place or country that is part reality, part fantasy, part cliché, yet also deeply personal. This experience is influenced by education, social background, history, and other socio-economic factors. " The ten tracks are crafted from collages of electronic sounds blended with field recordings from various places Kirmann has visited — from Dakar to the Caribbean, as well as London and Paris. His aim is to blur the line between electronically generated sounds and real soundscapes, creating music where it becomes difficult to distinguish the real from the constructed. All the sounds on the album were produced using synthesizers and field recordings. No drum machines, percussion or traditional acoustic instruments were used. Influences include Brian Eno and John Hassell’s Fourth World, Vol. 1: Possible Musics (1980), described by Hassell as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques" , which also works in the context of Almadies. Another big influence was Ariel Kalma’s Le Temps Des Moissons (1975) as well as artists including O Yuki Conjugate and Robert Aiki Aubrey Lowe to Susumu Yokota and Michael Banabila.

Swimming Paul’s music has always lived in the push-and-pull between euphoria and melancholy; the rare kind of electronic music that can make you cry while your body keeps moving.



On Smiling Through the Pain 2 (out October 24 via Headroom Records), the French-born, London-based producer doubles down on that emotional duality, delivering an album that feels as much like a diary as it does a DJ set.

Over the course of 15 tracks, Paul stitches together late-night catharsis, suburban nostalgia, and the jagged tenderness of early adulthood. The record is sequenced like an unbroken night out: the giddy anticipation, the sudden moments of reflection, the quiet comedown as the sun edges in. It’s an album that refuses to treat joy and sadness as opposites, they coexist here, often in the same chord progression.



“I don’t want to escape the feelings, I want to bring them with me” Paul says. “If you can’t stop thinking about something, you might as well dance with it.”

That philosophy runs through the singles: the emotional release of Holly (with Junior Simba), the aching nostalgia of Different Time, the hypnotic haze of Hard 2 Sleep, and the house-driven Drinking to Get Drunk, a bittersweet ode to nights spent outrunning your own thoughts. Elsewhere, Liza M1 folds heartbreak into an almost triumphant piano hook, while Shine a Light urges listeners to take risks and live without hesitation—as if youth’s boldness could be bottled.



Since debuting in 2023, Swimming Paul has quietly built an empire on emotional resonance: 150 million streams across platforms, 1.9 million monthly listeners on Spotify and more than 50 editorial placements (including Dance Party, Crying on the Dancefloor, Electronic Rising….), 10,000+ radio spins worldwide, and sold-out tours across Europe and North America. His sound has earned co-signs from BBC Radio 1, Triple J, KCRW, Sirius XM and a wave of DJs who value melody as much as momentum.

But Smiling Through the Pain 2 isn’t chasing charts, it’s chasing connections. Paul’s global fanbase, nurtured through a lively Discord community and nights on the road, has become a two-way conversation, with fans’ stories feeding back into the music’s emotional core.
This autumn, Paul takes the album to stages that match its ambition, from London to a string of US club dates, festivals and intimate pop ups designed for shared release.



Smiling Through the Pain 2 is an invitation to feel everything at once. To sweat through the sadness. To let your guard down under strobe lights. To realise that the best nights out don’t make you forget; they help you remember.

Molecular Recordings Presents "Structure Series 2" — Continuing a Legacy of Techno Innovation

Following the success of the first volume, Molecular Recordings returns with Structure Series 2, the next chapter in its celebrated vinyl series that honors the label’s enduring influence on underground techno.

This 12" release deepens the label’s exploration of forward-thinking sound, pairing iconic names from the Molecular archive with groundbreaking contributions from the new vanguard of producers. Each track reflects the uncompromising spirit and sonic evolution that have defined the label for over three decades.

Structure Series 2 is both a continuation and a progression — a curated fusion of past and future that underscores Molecular’s role as a pioneer and incubator of techno culture. It stands not only as a collector’s item but as a bold artistic statement.

With Structure Series 2, Molecular Recordings reaffirms its commitment to pushing boundaries while remaining rooted in the authenticity that has shaped its legacy since day one.

A stripped-back blend of hypnotic techno and abstract textures, Acid Futurism explores raw rhythm and spatial tension. Tomiie and Sadeghi push their sound into darker, more cerebral territory with precision and restraint.

UK producer Tom Carruthers returns with a scorching 5-tracker for Skylax Records, diving headfirst into the primal roots of jackin’ house, proto-italo, and early machine funk. Known for his raw MPC-driven grooves on L.I.E.S., Clone Jack For Daze, Syncrophone, and Craigie Knowes, Carruthers channels the energy of the underground circa ’86—pure drum machine soul for the dancefloor faithful. Side A kicks off with the title track “Neutralise”, all sharp snares, warped synths and hypnotic repetition—a jack track in the truest sense. “Deep North” follows with ghostly pads and relentless drum programming, while “No More” brings metallic tension and stripped-down funk with a heavy nod to Chicago’s original blueprints. On the flip, “Pascals” weaves cosmic arps through rugged percussion, merging italo sensuality with bleep-era minimalism. The closer, “Cosmic Ride”, is exactly that: a journey through spacey chords, dusty rhythm boxes, and that unmistakable feeling of warehouse euphoria at 4 a.m. Neutralise EP is a raw, timeless record that strips dance music down to its essence—jacking, emotional, physical. To match the sonic purity and timeless aesthetic of the release, we enlisted the iconic H5 studio—a name synonymous with visionary design in music and culture. Known for their groundbreaking work with Daft Punk, YSL, and numerous award-winning visual campaigns, H5 brings a level of artistic sophistication that elevates this EP into a complete sensory object. Their clean, modernist design echoes the stripped yet futuristic vibe of Tom Carruthers’ sound—a perfect fusion of form and function, underground and high art. Vinyl only. No digital. No compromise. For fans of: Virgo Four, Baby Ford, Larry Heard, early Warp, Mr. Fingers, and Beppe Loda.

A DJ, producer and prolific collaborator, Greg Paulus’s musical career has led to a truly enviable discography. Born in Minnesota and now an essential part of New York’s sprawling musical landscape, Paulus has taken the foundations of an organic childhood education by his father, the composer Stephen Paulus, and seen it blossom into an unpredictable musical journey encompassing house, soul, jazz and hip-hop.

While touring as a trumpet player with indie band Beirut, as well as in Matthew Dear’s live ensemble, back home he was helping to redefine New York’s underground dance scene as one half of No Regular Play. Alongside childhood friend Nick DeBruyn, the pair brought their deeply musical sound to no less than fifty countries across the world. A decade on, and Paulus arrives on Seth Troxler’s Slacker 85 imprint for his long-awaited debut solo LP, ‘Close To Home’, a deeply felt long-play celebration of his personal cornerstones; family, trust and hope.

From the opening, organic swell of ‘Perot’, arranged with Seth Troxler himself alongside John Camp, ‘Close To Home’ introduces itself as a focused, conscious trip, it’s languid trumpet spilling over into the reflective ‘World Keeps Changing’, which introduces Paulus’s philosophy of music as a constant. ‘Midtown Mirage’ meanwhile leans into the idea of the city itself as a collaborator, resisting pressure and finding its own restful groove. Back over the river, ‘Bond’ roots itself in Brooklyn with a contribution from resident Dillon Cooper, flipping rap standards amid psychedelic flourishes.

Paulus nods toward his dancefloor form on ‘NRG’, a slinky, lo-slung club groove that seamlessly evolves to meld the artist’s nocturnal and studio instincts. In contrast, ‘Real Job’ switches the tempo on Paulus’s MPC to embody an old-school, beatdown flavour, subtly teased out alongside composer and sound designer, Taylor Bense. Doubling down on this languorous groove, ‘Hat Down’ introduces a full-scale No Regular Play reunion, the first of two collaborative tracks that recall the duo’s imperial phase of confidently minimal productions, while evolving their craft.

Following a few missed calls made with love taken from Paulus’s answering machine on ‘$1000’ the minimal, reflective arrangement of ‘Hold Dear’ finds the artist stripping back his layered sound for a skittering, vulnerable exploration of intimacy and life’s devotions.

For a memorable finale, Paulus recruits jazz prodigy Michael Feinberg to deliver upright funk on the deliciously rich ‘Sometimes It’s About Us’. A purely celebratory collage of bopping rhythms and vocals, sharply plucked guitars and archive samples, ‘Close To Home’ concludes with Paulus leading his friends, ensemble and many influences in rare harmony.

Das fünfte Album der Newcastler Riffzauberer Pigs Pigs Pigs Pigs Pigs Pigs Pigs (aka PIGSx7) ist geprägt von kalkulierter Aggression und selbstzerfrleichenden Texten. Zu den verblüffenden Boni gehören verspielte Synthesizer-Arbeiten und der Auftritt eines Hip-Hop-Masters. Mit seinem Titel, der Absurdität und Ernsthaftigkeit einander gegenüberstellt, ist dies Death Hilarious. Während Land Of Sleeper von 2023 als immersives Kopfhörer-Erlebnis konzipiert war, strebten Pigs dieses Mal nach etwas direkterem, böseren. ,Wir wollten, dass es ein Schlag ins Gesicht ist", grinst Produzent und Gitarrist Sam Grant. Dieses Ziel kam zum Teil dadurch zustande, dass die Band in den letzten Jahren sooooo viele Gigs gespielt hat. Die Band fühlte sich gut geölt und reif dafür, den Zuhörern zu Hause die Art von Prügel zu verpassen, die ihr Publikum von der Bühne aus erhält. Death Hilarious bietet einige Überraschungen, vor allem der Track 'Glib Tongued', bei dem El-P von Run The Jewels als Gastmusiker mitwirkt. Als Bassist John-Michael Hedley unwissentlich das schrieb, was seine Bandkollegen als ihr Äquivalent zu einer Hip-Hop-Nummer betrachteten, setzten die Pigs ihre Ziele hoch an und sicherten sich einen fulminanten Beitrag von einem der größten Rapper der Welt. Das soll nicht heißen, dass Pigs zum Nu-Metal übergegangen sind. Death Hilarious ist eine abwechslungsreiches, straffes Album, das sich zwischen sabbathianischem Doom, grotesk minimalistischem Noise Rock und zyklischen Post-Metal-Fortissimos bewegt. Auch die Pigs treiben sich selbst weiter an. Unpassende Synthesizer-Soli tauchen dort auf, wo normalerweise Gitarren-Histrionik Platz hätte. Klaviertracks lauern im Mix und verleihen dem Klangstrudeln eine fast unterschwellige Tiefe. Stitches" ist wie Motörhead, die versuchen, Glamrock mit einem beschwipsten Keyboarder zu spielen. Und dann ist da noch das 100-Meilen-Tempo des Cosmic-Thrash-Openers ,Blockage". Verzerrte Licks fliegen aus den Verstärkern von Grant und Lead-Gitarrist Adam Ian Sykes, während die Rhythmusgruppe dahinter brutzelt. Mit all dieser Power, die durch die Adern fließt, wird Death Hilarious mit Leichtigkeit eines der besten Rockalben des Jahres 2025 sein... und das ist kein Witz!

For its debut release, Echoform presents a sonic palette of the shapes and colors that define its events.
The journey begins with Circles, a tension-packed peaktime driver. Built around a deep bassline, layered leads, and emotional pads, all tied together by a vocal that calls for love.
Next is Squares, a raw, heads-down groover made for sweaty dancefloors. Dreamy FX meet stripped-back rhythms in a hypnotic blend.
The EP closes with Another Shape, a 90s-inspired tech house cut with a deep emotional core. Subtle pads and a rolling groove carry you through the early hours.

Echoform is a newly formed record label based in Amsterdam and Berlin. Formerly known as boshuis, the label has been refreshed with a new mission: to unravel the mysteries of visualising sound. Have a look at their artworks and take some time. “Do you hear what you see?”

RAWAX proudly presents Acid Jesus aka Roman Flügel & Jörn Elling Wuttke with her groundbreaking debut album called "Acid Jesus" from 1993

Following the title of the classic Ecstasy Club record - be it a direct influence or merely a coincidence - Acid Jesus was the first of many collaborations between Roman Flügel and Jörn Elling Wuttke.

Situated in Germany’s then blistering techno scene and especially a mirror of Frankfurt at the time, the early recordings are also a feedback loop to what was happening in the UK and the USA before and at that very time. With many definitions and interpretations of techno already in place, and while its triumphal procession slowly geared itself into exhaustion, Flügel and Wuttke succeeded with their own and unique take on it, that owned as much to Underground Resistance and the Belleville Three as it did to Sven Väth and Andrew Weatherall. Depicting the booster detonation of what was to become the holy label trinity of Playhouse, Klang and Ongaku, this is a collection of tracks and experiments in sound that won’t sound dated, yet classic, mesmerizing and eternal. Jesus loves the acid and vice versa.

Red Axes return with LOUD—their most explosive record to date. Blending post-punk grit, indie-rock swagger, and their signature electronic pulse, the duo deliver 13 tracks packed with raw energy, twisted hooks, and fearless experimentation. LOUD is restless, fearless, and wildly diverse - showcasing a band that never stands still.

Following over a decade of groundbreaking releases and genre-defying sets at Coachella, Glastonbury, Sónar, and Berghain, LOUD showcases Red Axes’ ever-evolving sound and genre-defying legacy. Drawing inspiration from acts like Amyl and the Sniffers, Viagra Boys, and The Brian Jonestown Massacre, Red Axes channel their roots in psychedelic rock into something gritty, loud, and deeply addictive.

Lead single Home "La La La” captures the hazy feeling of a night spiralling out—equal parts bliss and breakdown. From distorted riffs to hypnotic grooves, each track pushes Red Axes into thrilling new territory. From the surf-rock energy of “Church Avenue” to the pounding chaos of “Lava Lava,” LOUD spans moods, genres, and states of mind—but always hits hard.

Alex Puddu returns to the origins of his first sound that launched him with the original soundtrack of The Golden Age Of Danish Pornography presenting us with a new work inspired by the music and soundtracks of hard and erotic films of the late seventies and early80s with the new album
“I Desideri di Sadie (Piaceri Tropicali)"
is the new concept album written, arranged, produced, performed and conceived by Alex Puddu, It is the first album of the erotic/hard series Sadie.
A heroic female character fantasized by Alex Puddu of a rich and charming young woman, sexy, strong, brave and free with a great spirit of adventure, always traveling around the world in search of new experiences in the erotic and dark world that surrounds her.
The music is inspired by the soundtracks of adult movies of the late Seventies and early Eighties.The story takes you into a journey set in the countries of South-East Asia and the Pacific islands, in exotic landscapes, among jungle, lush vegetation and enchanting tropical beaches. A magical trip among temptations, on the islands, to discover the beauty of the "Erotic World" of Alex Puddu

The album delivers masterful arrangements, inventive rhythms, rich harmonies, and a perfect balance of flute and saxophone interplay. Funk, Jazz, Gospel, Afro, and traditional elements all merge seamlessly into something unique and timeless.
Joshua Sithole (1947–1999) was a self-taught multi-instrumentalist and vocalist from South Africa who first started busking with the Kwela kids in 1959 and then went solo in 1978. He became popular in the 80’s, performing widely in Durban and Cape Town.

Originally released in 1975, this overlooked masterpiece is now reissued for the first time by Voom Voom Records — the first 500 copies include a poster of Vladimir Tretchikoff's painting, "The Pennywhistlers" which captures the beauty of Joshua's playing.

“Joshua Sithole, Errol Dyers, and Jonathan Butler come from some of the most influential and esteemed musical families in South Africa. You cannot write about Jazz in Cape Town and not mention some of these families and their contributions to the art form.” — Fanie Jason (Music Photographer - Cape Town)

"South African spiritual funk gem. slick guitar, banks of horns" - Chris Albertyn (Matsuli Records)
"Dynamic South African funk. An album that will make you want to dance from start to finish" - Franck Descollonges (Heavenly Sweetness)

François X closes The Skin Between Us with a final chapter that sharpens his vision.

Where Part I explored heritage and tension, Part II brings clarity — two new tracks that affirm his belief in techno as something lived, not abstracted.

Before I Knew The World is immersive and weighty, built on reverberant kicks and magnetic pads. In Memory Of is more direct — a driving, knight-like piece balancing percussive force and tenderness.

Rooted in the legacy of Black American dance music yet shaped by the European club experience, François X’s sound remains hybrid, sensual, and human.

This vinyl edition gathers the complete project — all five tracks from Part I and Part II — pressed into one record, capturing the full journey from friction to clarity.

Hania Rani ist eine mehrfach preisgekrönte Komponistin und Pianistin, die mühelos zwischen der Welt der
klassischen und der experimentellen Musik wechselt.
Aufgenommen in den Abbey Road Studios mit einem 45-köpfigen Orchester, markiert „Non Fiction“ einen
neuen Abschnitt in Ranis Karriere, da sie von den elektronischen Klängen ihres gefeierten Albums „Ghosts“
in den symphonischen Bereich übergeht und eine Brücke zwischen ihrem eleganten Experimentalismus und
ihrer klassischen Ausbildung schlägt.
Non Fiction ist Ranis erstes Klavierkonzert und symphonisches Werk. Es ist auch eine Reaktion auf die Entdeckung der Kompositionen des jungen Musikwunderkindes, Josima Feldschuh, die während der Schrecken
des Zweiten Weltkriegs im Warschauer Ghetto entstanden sind. Bewegt von der Geschichte des jungen
Mädchens, beschloss Rani, sie durch die Linse der aktuellen Schreckenssituationen in der Ukraine und im
Gazastreifen zu betrachten und zu untersuchen, wie wir diese durch moderne Medien wahrnehmen. Dabei
erforscht Rani die ständige Koexistenz von Harmonie und Unordnung, schafft eine klangliche Metapher
für das Überleben des menschlichen Geistes angesichts von Gewalt und nutzt den emotionalen Wert von
Klängen, um diese irgendwie fernen Konflikte für uns auf menschlicher Ebene nachvollziehbarer zu machen.

Esteemed soul man of Panama Mr. Ralph Weeks has in recent years been enjoying a much overdue retrospective of his remarkable six decades-long musical journey with the help of Names You Can Trust. Now onto their fifth record release together since 2019, the label has covered both Weeks' original holy grail material as well as re-cuts and reimagining of some of his rarefied and unreleased songs.

One of Mr. Weeks' two iconic 45 releases on Panamanian label Sally Ruth was a funky soul side called "Let Me Do My Thing," originally recorded in 1971 as Weeks' answer to Charles Wright's big tune "Express Yourself," which had just hit the airwaves in 1970. Weeks' musical response would help define his legacy. He was gonna express himself, he was gonna Do His Thing. This golden age ultimatum recorded with the Dynamic Exciters of Panama as the backing band was a simple, straight ahead number with a defining message that would be carried on throughout Weeks' independent career. The funkified air and creative freedom of the original tune is a prime example of the crossover Combos Nationales sound that flourished in the prolific Panama recording industry of the era, and in the ensuing decades Weeks' tune would live on as a cherished rare groove for souleros, funk fans, and bootleggers alike.

Fast forward to 2023, when Ralph Weeks and Names You Can Trust prepared for a Bay Area appearance at the wonderful Latinos Con Soul weekender put on by San Francisco's Discodelic record shop, the groundwork was laid in the studio for a revival, a reawakening of Weeks' funky fan favorite. A spectacular ensemble of NYCT's All-Star artists and alumni was convened in the studio, including Caito Sánchez on drums, Victor Axelrod (Daptone Records) on clavinet and Sam Day Harmet (La Banda Chuska) on guitar. Anant Pradhan (The Skatalites), Eric Biondo (The Budos Band) and Alex Asher (Los Cumpleaños) occupied the brass section, and Ralph Weeks even lent his still formidable chops on electric bass and keyboards, a little OG flare to back up his silky voice with a deft musical touch. What came out of the sessions was a chance for NYCT to pay homage to Weeks' iconic original, without replacing it, and build a brand new version from the ground up with the maestro and composer himself!

Verb T – Homer Loan 1 & 2 (Half 'N Half Splatter Vinyl Release)
UK hip-hop veteran Verb T returns with the long-awaited vinyl release of Homer Loan 1 & 2. A definitive collection capturing two distinct creative periods from one of the scene’s most respected voices.

Originally released digitally, the Homer Loan series has become a cult favourite among Verb T fans, offering an intimate glimpse into his trademark balance of sharp lyricism, dry humour, and unfiltered honesty. The vinyl release brings both volumes together for the first time, celebrating the evolution of a prolific artist still pushing his craft forward. Homer Loan 1 is entirely self-produced, showcasing Verb T’s production skills and ear for soulful textures and lo-fi warmth. Built around introspective rhymes and smooth, laid-back beats, it reflects the self-contained creative process that defined its making.

With Homer Loan 2, the palette expands — featuring production from Cuth, Farma G, and Forrest Moon, each contributing their distinctive sonic fingerprints while complementing Verb T’s unmistakable flow and storytelling. The result is a cohesive yet dynamic project that bridges the personal and the universal, the underground and the timeless. The Homer Loan 1 & 2 Yellow and Purple Half 'N Half Splatter vinyl release stands as both a collector’s piece and a testament to Verb T’s consistency and artistry within UK hip-hop’s ever-changing landscape.

Danny Krivit pairs a powerful reworking of a rare groove classic with a NYC boogie classic on this highly useful single from the ever-reliable Most Excellent Unlimited. Billy Paul’s ‘East’ was the opening track on the very first Philadelphia International Records LP release from Gamble and Huff’s legendary label. Written by bassist Tyrone Brown, it naturally has a monster bass groove that Mr. K makes the centerpiece of his DJ-friendly rework, which tightens the tempo while retaining the spiritual vibe of the original. Final Edition move us to the dancefloors of early 80s NYC with their ‘Can’t Keep Running Away’, a musical halfway point between the disco funk of the 70s and the boogie sound to come. Krivit’s edit pares the song down to its propulsive highlights, with the catchy chorus taking centre stage. As always, these handpicked classics from the crates of the renowned Mr. Krivit are mastered and pressed to the highest standards with the dancefloor in mind!

2023 Repress

As long term partner of Ron Trent, we are very honoured to present you in future some of this iconic label's greatest releases back on vinyl. Starting with "Hit To Be Disillusioned Vol.1" from 1994!

From the soulful underground of Argentina comes a new chapter on Abuelo Negro Limited, the Taylor Fass EP. A beautifully crafted release that bridges emotion, groove, and timeless aesthetics. Each track unfolds with subtle depth: warm pads, dusty percussion, hypnotic basslines, and that unmistakable deep-house pulse that feels both classic and fresh. It’s music for intimate dancefloors and late-night reflection, the kind of sound that connects body and soul without ever forcing attention. Taylor Fass EP embodies the label’s spirit, raw yet refined, deeply human and full of feeling. The stunning artwork completes the vision, reflecting the warmth, nostalgia, and understated elegance of the music itself. A heartfelt release from Buenos Aires to the world, for those who still believe that house music is more than rhythm, it’s emotion.

Marking its 10th release, Sounds of Sirius Music presents a deep, curated journey from a constellation of close producer friends, each adding their own energy to the label’s evolving sound.

The record opens with Akela's hypnotic Ritual33, followed by Daniel Meister, who delivers his signature minimal groove. On the flip, rising New Zealand talent Isaac Denny teams up with label founder Herman Saiz on a track that blends raw expression with a refined touch.

LUKEA closes the release with a deep, laid-back, galactic cut that lands the record with style. A milestone release shaped for introspective moments and late-night floors alike.

For its first vinyl release, Shakshouka Records proudly presents the first ever reissue of the Algerian Kabyle band Syphax, a 7-inch featuring two irresistible disco gems that set the dancefloor alight while channeling a kaleidoscope of psychedelic textures and North African Amazigh spirit.


Born in exile on the outskirts of Paris, Syphax fused psychedelic rock, funk, and North African rhythms with the lyricism of Amazigh poetry and the rebellious energy of the 1970s. This record pairs the celebratory "Thamghra" meaning "party" in Amazigh and originally featured on their long-forgotten LP, with the disco-infused "Skate Dance," released years before skate culture spread across the globe and a testament to the band's cutting edge.


Remastered by Nick Robbins and compiled by Cheb Mimo, this reissue restores the bold sound of Syphax: a voice of diaspora, freedom, and boundless creativity.

The Chicago and Phoenix based duo, Dunes of Dawn, is Yianni Papagiannopoulos and Tanner Dixon. Prosperity Room is their debit EP on Chicago based 4 Track Recordings, aka 4trk. Four tracks on this release with a heavy atmospheric layering throughout.

BQD050–Arno: "We Perfectly Understand Each Other Until We Start To Talk – The Remixes"

To mark the 50th release on Brouqade, we reach back into the catalog and release as a set of remixes Arno's album “We Perfectly Understand Each Other Until We Start To Talk” a work that touches on the finer problems inherent to human communication.For this unique Album, released in 2019, three distinctive reworkings offer new breath to the original tracks: Baby Ford conducts a lean and hypnotic revision played in minimal fashion, Kuyateh widens out textures with deep organic rhythms and Dana Ruh puts her distinctive groove-orientated stamp on the material.

The bonus on the release is from Arno — a meditative composition that acts as middle ground in terms of his musical language.

In operation midway between introspection and movement, BQD050 depicts the very spirit of Brouqade: depth, warmth, a timeless dancefloor poetry.

Skylax Records is proud to unveil the reshaped and definitive edition of Blue Mondays’ "The Homage" EP – a record that bridges the golden age of Italo Disco, the raw proto-house energy of Frankie Knuckles & Ron Hardy, and the resurgence of true underground dance music. This release has been meticulously refined to give it the space it deserves: a future classic, driven by iconic reworks and a visual identity worthy of its legacy. A1. The Homage (Vedichecista Mix) delivers a hypnotic journey into Italo Disco euphoria, A2. The Homage (Instrumental) strips it down to pure musical essence, and A3. Countach (Driving Mix) propels us into the unstoppable energy of classic Italo Disco, showcasing Blue Mondays’ unmatched ability to capture the era’s true spirit. On the B-side, B1. The Homage (Floorfillers Remix) injects a raw acid energy designed for peak-time floors, while B2. The Homage (Jolene Remix) delivers a filtered French house gem straight out of 1998, crafted by one of our leading torchbearers of the "real music" renaissance. Wrapped in a stunning sleeve designed by H5, evoking the iconic aesthetics of Joy Division, New Order & Peter Saville, "The Homage" EP captures the essence of an era when the dancefloor was sacred, the music was raw, and the underground thrived. We took our time to reshape this release because it deserved nothing less. Now it’s ready – sharpened, elevated, and destined to become a definitive Skylax classic. This is not just another EP. This is Blue Mondays. Skylax. The resurrection of the underground.

Break 3000 - Human Nature EP

A special collaboration with Partout records from Paris. Break 3000 digged deep in the archives for this one and found some old unreleased music on his dusted DAT tapes ranging from 1993 to 2002.
Now released for the first time ever on vinyl 12” and digital.

“Human” and “Komputerok were produced in the same project in his Maastricht bedroom studio back in 2002 and reflect to great influence artists like David Caretta and The Hacker had on his sound back then, a mix of banging Electro Clash meets EBM, 80s Proto House.

“Overdrive” opens the B-side and a window to the late 90s. This track was produced together with his classic “Plastique People” around 98/99 and was an instrumental track luckily found again, Break 3000 added a new vocal and made a fresh shorter Edit. Thanks to the excellent mastering by Salz Music this one is back in todays sound standards.

The next pearl from the past is a real favourite and is the oldest track featured on this EP. “Ambizone” was recorded back in 93/94 and marks the transition from his first musical project Amazone to becoming Break 3000. Recorded in an amazing analog studio in Venray Netherlands where Break 3000 worked on a full album.
More music will follow from these old sessions! Stay tuned.

Closing out with “Nature”, a true hommage to the early Rephlex sound and produced around 97/98. Acts like Bochum Welt, D’arcangelo and µ-Ziq had an immense influence on Break 3000 and are a reason why he started to make more electro orientated music.

All tracks mastered by Salz Mastering in Cologne.

Punching in with his debut vinyl EP for Fluid Funk, Chilean house producer Massiande follows up to a string of head-turning releases on an array of labels, including Jimpster’s Freerange Records. His much anticipated new offering, “Essential”, packs all the attributes of his vivid, floor-focussed vision, taking us on a bouncy ride across densely forested coastal house scapes and heavy-lidded electronics. Draped in washed-out pads and cottony textures, Massiande’s tracks have us floating in a chromatic daze of sorts, light-hearted and somewhat nostalgic, but above all hopeful and resilient.

A textbook slab of Massiande’s ever-expanding palette of woozy house tropes and silken disco touch, A1 “Tears” (also presented in bare instrumental form on the flip side B2) has it all, from the euphonic synths arrangements to the no-nonsense, club-igniting jack and irresistible footwork, via the infectious bass and Chicago-style soulfulness of its vocals. Proper fiery number and absolute weapon for any DJ seeking either impactful elegance in a peak-time context or to rekindle the flame when the after gets a bit too prosaic and requires that extra funky boost to get back on tracks. Grooviness exemplified.

More of a straightforward affair, A2 “Essential” unflappably beckons us on the path of utter vaporous escapology with its pulsating tableau of FX-soaked machine talk, semi-acidic bass and zero-G synthwork painting the sky all shades of pastel. The result is a rather captivating piece of weightlessly intuitive though carefully engineered sonic daydream. Injecting further oomph to the groove, B1 “Come On” pulls out a symbiotic collage of Sino-flavoured melody, Stax-ian vox sampling and straight out Detroit house-indebted propulsion, neatly showcasing both Massiande’s broad spectrum of influences and that idiosyncratic take of his on the said genres’ tried-and-tested leitmotivs.

The new vinyl release by Monaks is the perfect companion for sets — filled with captivating grooves, hypnotic synths, and an atmosphere you won’t want to escape. Four originals, all unified by the aesthetics of warm, danceable house music, unfold like a day-long journey — from a sunny morning to a hypnotic night. Side A delivers uplifting and elegant house with fresh melodies and subtle nods to genre classics. Side B dives deeper — into a world of groove, dub textures, and tight rhythms, perfect for late-night and afterhours vibes. VAM12 isn’t just a collection of tracks. It’s a thoughtful, cohesive release that fits seamlessly into any part of your set. A true delight for DJs and collectors alike.

Mastering by Kashatskikh Studio
Design by Kirill Kashatskikh
Vinyl Only

Als Pionier der elektronischen Musik, vereint The Bloody Beetroots seit 2005 Elemente aus Electro, Punkrock und Dance zu einem unverwechselbaren, genre-übergreifenden Sound. Hinter dem Projekt steht der italienische Musiker und Produzent Sir Bob Cornelius Rifo, der mit Tracks wie „Warp 1.9“ (feat. Steve Aoki) und Alben wie Romborama, Hide und The Great Electronic Swindle internationale Bekanntheit erlangte. Jetzt kehrt „The Baddest Man in Electronic Music“ mit seiner neuen EP “FOREVER PART ONE” zurück. „Dieses Projekt ist mein Leben“, sagt Rifo. Und das spürt man in jedem einzelnen Beat. Keine Grenzen, keine Kompromisse. Stattdessen persönliche Geschichten, Gedanken und Momente, die The Bloody Beetroots über Jahre hinweg geprägt und geformt haben. „Dieses Release ist sowohl ein Danke als auch ein Statement. Denn in einer Welt, die Anpassung belohnt, glaube ich immer noch daran, dass wahre Rebellion darin besteht, sich selbst treu zu bleiben.“ - Sir Bob Cornelius Rifo Das ist The Bloody Beetroots. FOREVER.

FOREVER PART ONE erscheint als Digipak CD und auf limitiertem Grey Marble Vinyl.ist eine Auseinandersetzung mit dem eigenen Werden: damit, was passiert, wenn man sich der verzerrten Version seiner selbst stellen muss - der Version, die durch Schmerz entstanden ist.

Pingouin Musique, relaunched after exact 30 Years - Founder Zied Jouini
Started his musical career 1992 right in the growing House and Techno era -
Since then he dedicated himself to the underground - Past releases on AFU/ Wavescape/ Music Man
Italys famous dance Label Flying Records, Great Assets URL Underground Label, also a late Force Inc, Traum Schallplatten or his other Imprint Practical Toy and other Project just to name few.

Zied produced a safe House Track with nice portion of underground called Hymn-
He knows how to keep the balance between a Dance Underground rhythms, harmonies and short concise melodies
Very enjoyable on the Dancefloor and at home :)

A1 Original: A classic house bounce with modern finesse and hypnotic effects guide
A2 Jouzie's Give Peace a chance Remix got an electro beat with a slightly breaks touch - a full rich house vibe and a well known Vocal sample in it - Floor Filler
B1 Johnny D Remix - inter alia produced e.g. for Oslo, 8Bit und Cécille, bring up an Absolut rich full tech house groove monster - Johnny D at its best
B2 Danielle Arielli Remix - Founder of Tooflez Muzik delivers a Power House, warm and hypnotic roller with a touch of Acid Remix - Banger!

On April 13th, 2019 Record Day, Vega Records celebrates with the new release 'My Body' performed by none other than the Legend and King Luther Vandross. This is a song that was never released and was recorded back in 1979 by Luther Vandross when he was working on the colossal album 'Never Too Much'. Brought to Louie Vega by artist and renowned background singer to the greats Mr. Fonzi Thornton, Vega was able to work on the immaculate sounds of Vandross. As Vega recalls 'When I put up the tracks in my studio it sounded as if Luther were singing today, it made it so easy to come with the house grooves having such a perfect vocal performance and one of kind tone. Once I came with the music, I felt I needed to call his original background singer team, which Fonzi organized in a flash. He called upon the genius background singers Brenda White, Lisa Fischer, Cindy Mizelle, Tawatha Agee and Fonzi himself. We are talking the A-Team of background singers, a dream come true in my studio', Vega recalls.
The Result is a stunning art piece by Richard Wilson on the cover of the vinyl double pack 12'. There are seven versions to choose from ready to work back to back.
So not only is it record day, it's also the birthday of Luther Vandross which is on April 20,
HAPPY BIRTHDAY LUTHER VANDROSS!!!
LOUIE VEGA SENDS A BIG HAPPY BIRTHDAY TO LUTHER VANDROSS & THANK YOU TO FONZI THORNTON, SEVETA WILLIAMS, AND VANDROSS MUSIC, LLC.

Glasses Man by Ken Laszlo is a catchy Italo disco track with charismatic vocals and a typical 80s flair. The song captivates with its danceable lightness and stays in your head with its distinctive hookline. Finally available again as a coloured maxi single – a highlight for collectors and fans of the genre.

In addition to the original versions, there are new and exclusive remixes by Flemming Dalum.

The neon "pdqb Arcade" sign in Port Astra flickered with the same chaotic energy it had decades ago. Six men, now with more gray hair and worries than they once had, stood at the entrance. They were the "Lucky Six," reunited after years of scattered lives and separate paths.

"I can't believe this place is still here" said Noise, who had flown in from Tokyo. "It hasn't changed 8 bits, haha". CEM, now a father of 3340 synthesizers from Bari, replied with a grin. "We have. Look at Galaxian, he's unrecognizable!"

Each of them held a single, precious coin. Their plan, born of a wave of nostalgia and the understanding that they couldn't stay forever, was simple: one coin, one game, one last chance to be a legend. Each man would choose the game that meant the most to him and play the round of his life…

At the end, pdqb, the arcade owner, came up to the guys. "Don't be sad", he said. "Even if it was your last credit, there's always one more somewhere in some game". He then walked through the arcade and played four different machines that just happened to have an extra credit on them. "See?", he said.

Synaptic Cliffs proudly presents pdqb together with six black belt gamers (PRZ, Noise&Noise, Galaxian, CEM3340, Dark Vektor, Mesak), each a legend in their own right. They don't just replay pdqb's 8 1/2 Bit album; they become it. Together, they embark on a journey through legendary worlds, creating a place filled with soundscapes and challenges that blur the line between music and game. They move with the rhythm of the music and face the challenges within, weaving their own stories into the fabric of the iconic work.

Heralding 10 years of relentless club futurism, Timedance strikes forward once more with TD10. Batu's label has nurtured experimentation between techno propulsion, soundsystem pressure and innovative sound design since the beginning, rarely resting in one space and always reaching for new ideas. Across 23 forward-facing cuts, this compilation continues that tradition with a strong cast of scene-leading heavyweights and crucial emergent talent.

The wide-ranging styles across TD10 are bound together by a shared affinity for bassweight presence and vibrant, three-dimensional production. Fractured, artful deconstruction from Daisy Moon, Marco Shuttle and Verraco sits alongside the snarling half-step pressure of re:ni and Lurka and the jagged drum intensity of Lechuga Zafiro, 33EMYBW, Ayesha, and Jabes. There's space for big room anti-anthems from Pearson Sound, Bambounou and Batu himself, wildcard swerves from Minor Science and Skee Mask and more emotive melodic sensibilities from Polygonia, El irreal Veintiuno and BADSISTA. At every turn, the ideas are fresh, toying with the idea of an all-encompassing sound for the label and throwing open the possibilities for what it might represent in the future.

Timedance has thrived in an era where technology has eroded the boundaries between the generic formulae of dance music's past, helping set the pace for innovation and presenting compelling, immediate music across the tempo range. TD10 responds to that legacy with its gaze fixed firmly forwards, ushering in the label's next chapter in proudly unpredictable style.

Hector Lavoe's "Alejate" (Joe Claussell Mix) Extremely Limited yellow Vinyl repress 12” of the timeless Joe Claussell remixes of the Fania Records masterpiece.

Legendary New York DJ, producer and soul magician Joe Claussell delivers yet another of his stunning reworks of one of Hector Lavoe's Iconic Songs the classic "Alejate." Taken from him universally praised Hammock House Remix produced for the Iconic Fania Records Label. As usual, he brings his signature touch while honoring the original's spirit and with great respect for its Latin roots. Claussell still manages to breathe new life into the track by mixing up organic rhythms and
percussive flair to create a version tailor-made for any dance floor. There is a Dance Dub with a heavier low end and plenty of jazzy expression before the Alt instrumental shuts down. This is a 12" that bridges tradition and modernity with care and creativity.

Ruta5 presents Yellow Fever, the debut EP from Chilean duo Yellow Fever — vocalist Nara Back and dj Haiti — a project born to ignite the dancefloor through hybrid sets that blend live vocals, DJ energy, and a visual world steeped in groove and color. Their first release channels over two decades of electronic roots into fresh, immediate form.

The record opens with ‘Díganle (Dandy Jack Remix)’, where Dandy Jack — a pioneering force in Chilean electronic music and co-founder of Ruta5 — transforms the track into a playful, stomping roller: punchy kicks, rolling bass, groovy percussion, and glitchy vocal fragments that nod to his legacy of bridging Chilean and European underground sounds. ‘Fiebre Amarilla’ (Yellow Fever) leans into space and motion, driven by growling bass stabs, modulated synths, and vibrant vocal energy that flirt with house textures while radiating raw dancefloor sensuality. ‘William Borrow’ brings crisp, electro-leaning drums and syncopated grooves that twist through dynamic shifts, hinting at synth-pop while maintaining tight club precision. Closing the EP, ‘Inspector (feat. Pier Bucci)’ folds in Pier Bucci’s unmistakable touch — a deep, minimal-house hybrid rich in warmth and Latin sensibility, connecting Santiago and Berlin with effortless lightness.

Founded to amplify electronic voices from underrepresented regions, Ruta5 remains a cultural bridge — its sound deeply Chilean yet globally resonant. Dandy Jack’s and Pier Bucci’s presence reaffirms that lineage, while Yellow Fever injects it with new energy: a reminder that consistency in quality need never mean predictability.

Altsaxofonist Zbigniew Namysłowski (1939-2022) wird wird oft als der ”John Coltrane Polens” bezeichnet,
so wichtig war er für die Entwicklung des modernen Jazz in seiner Heimat. Sein 1964 veröffentlichtes
Debütalbum “Lola” war zugleich das erste Album einer polnischen Band, das nicht hinter dem “Eisernen
Vorhang”, sondern in den Decca Studios in London aufgenommen wurde. Mit seinem Modern Jazz Quartet stellte Namysłowski auf dem Album sieben teils von polnischer Folklore inspirierte Originale sowie eine
Interpretation des Standards “Ol’ Man River” vor.
Produziert wurden die Aufnahmen von Mike Vernon, der später unter anderem mit Fleetwood Mac, David
Bowie und John Mayall arbeitete. 60 Jahre nach Erstveröffentlichung erscheint dieses für die europäische
Jazzszene eminent wichtige Album in der Reihe “British Jazz Explosion” erstmals wieder auf Vinyl. Gemastert von den originalen analogen Stereobändern von David Turner bei 360 Mastering, geschnitten bei Curve
Pusher, Hastings, East Sussex. Eine Beilage enthält Fotos der originalen Masterbänder und neue Liner
Notes des bekannten Autors, Compilers und Dokumentarfilmers Tony Higgins, der auch als ausführender
Produzent für Deccas „British Jazz Explosion“-Reihe fungiert.

2025 Repress
Gregory Porter’s “1960 What?” continues to be one of Expansion’s most sought after releases and comes now in new enhanced packaging. It combines the original with the Opolopo Kick & Bass re-Rub

Gregory Porter as narrator, sounding like Amiri Baraka, declares on “1960 What?” that “the motor city is burning y’all—that ain’t right” and refers to Martin Luther King Jr.’s death and describes trigger-happy policing (supported by a trumpet that blares, jabs, rumbles, and yearns); and the song portrays how certain events turn people against the possibilities of life and light. A vision that only recognizes strength and cruelty and rage is dangerously imperfect: rather, creativity, education, intelligence, sensitivity, democratic political participation, and compassionate social work are goals and virtues that can be affirmed, if not actively pursued, in all times.

“Coming To You Love” is a classic and ever popular jazz funk and soul release from 1980. From its original release, the LP and 12” versions have dominated, this 7” version only recently coming to light as a different take on the track with a bonus Charles Earland organ solo. Since the realization of its existence, the previously styrene only US Columbia 7” has exchanged hands for increasingly higher amounts.
Charles came from Philadelphia, played sax first with Jimmy McGriff before turning to organ in the late 60s and earning a nickname ‘The Mighty Burner’
During his time at Mercury records he scored a hit song with the disco record “Let The Music Play”, building an audience with a jazz funk and soul crowd which exists to this day through numerous other releases on Mercury and then Columbia through to his passing in 1999.

2025 Repress

Two revered dance music institutions come together here as Pye Corner Audio steps up to Emotional Response with his debut EP for the label. What's more, it is a two-parter with the second half also available now. This one from Martin Jenkins finds him making an homage to the acid house he has always loved with opener 'Stegan Acid' starting with slow grocers and foggy moods run through with subtle 303 modulations. 'Magnetic Acid Three' is another deep and stripped-back sound with rumbling drums and bass coloured with soft acid contours and 'Thermionic Acid' gurgles a little more as the icy hi-hats cut through a mutant deep techno swamp. 'Magnetic Acid One' is one final meditation on acidic house depths.

Disco Mind taps into a rich vein full of Italy's freshest electronic talents here with a glorious new EP for retro-future dancefloors. Kicking things off is Naples-based Lance, who channels proto-house ruggedness and glossy Italo disco melodies on 'Renato Superstar, which is an homage to a cult 80s film. Club Mediterraneo follows with 'Prima Cala' and provides a shimmering Balearic bliss for sunset sessions, and Sparking Attitude makes a strong first impression with 'Au Revoir Bonsoir,' which sinks into slinky deep house grooves with a touch of filter sync madness. Leslie Lello and Luksek join forces on 'Caravan' for a sugary-sweet nu-disco finish, lovely analogue drums and a carefree attitude.

Bread&Butter Records celebrates its 10th EP with a powerful statement from Romanian duo NTFO, a name synonymous with precision minimalism and timeless groove. The release unfolds across four masterfully produced tracks, each one engineered for those moments when the dancefloor turns into something deeper, heavier, and unforgettable.

Calibre sets the tone in classic NTFO fashion. Its stripped-bacb bassline rolls with hypnotic intent, carrying just enough weight to lock the floor in. By the three-minute mark, subtle shifts into a trance-like state, gently elevating the room into waves of euphoric release. It’s understated yet devastatingly effective, the type of cut that DJs treasure for its power to transform the atmosphere without ever shouting too loud.

Electr pares things back even further, pushing into pure minimal territory. Built on a sleek harmonic groove, it’s a masterclass in restraint, every sound feels perfectly placed, every movement precise. This is a track that thrives in the early hours, where tension, patience and subtle shifts in rhythm rule the floor.

Forap flips the script, injecting an upbeat energy that hits with instant impact. Around the three-to-four minute mark, a vocal element cuts through, commanding attention before the groove locks back in with unstoppable momentum. Hypnotic yet uplifting, it’s the perfect peak-time tool a track that lifts the room into a collective high, as though flying on pure feeling.

Nanomos closes the EP with finesse. A deeper, darker exploration, it glides through murky textures and intricate percussive details, carrying an otherworldly atmosphere that keeps the listener suspended in motion. It’s a slow-burner that lingers long after the last note fades, a testament to NTFO’s ability to balance groove and emotion in equal measure.

With this release, Bread&Butter not only cements its reputation as one of London’s most exciting underground imprints but also showcases NTFO at their most refined. Four cuts, four moods, all bound by that unmistakable Romanian touch that continues to set standards worldwide.

Knowledge The Pirate returns with a powerful new statement with his new album, The Round Table, which is now available. The Round Table is produced in its entirety by longtime collaborator and legend Roc Marciano through his Pimpire International imprint.

With roots in New York’s revered ‘90s hip-hop scene, Knowledge The Pirate has steadily built a reputation as one of the genre’s most consistent and authentic voices. A frequent Roc Marci collaborator and key figure in the modern underground renaissance, Knowledge fuses golden-age grit with new wave innovation—bridging generations while staying firmly rooted in New York’s timeless sound.

Since his 2018 debut Flintlock, Knowledge has carved a lane entirely his own through his label Treasure Chest Entertainment, Inc. With five acclaimed projects under his belt, including the recent 5lbs of Pressure, he continues to deliver unfiltered street wisdom and personal reflection in every bar.

The Round Table stands as a testament to his evolution—an uncompromising body of work laced with Roc Marciano’s signature production and Knowledge’s lived-in lyricism. It’s not just a record—it’s a meeting of the minds, an audio council of kings.

“The Round Table is cinematic storytelling, teaching street knowledge, eating etiquette that will save your life” Knowledge professes. “This album is like an Honorable Elijah Muhammad book; How To Eat To Live. Produced fully by the true creator of the new wave sound, Roc Marciano, you are all invited to a seat at The Round Table; and break bread with the true Godfathers of this new wave rap renaissance.”

Stiletti City Tape Archives is the fourth Stiletti-Ana album, showing off the Finnish mastermind’s talent for making electronic music that’s immediately inviting while generously rewarding the focused listener.
Following on stand-out work for labels like Public Posession and Höga Nord – not to mention all sorts of odd jobs within the Sex Tags multiverse – Stiletti-Ana presents his latest offering: eight irresistible jams cooked up in the hallowed halls of Helsinki’s Haista II studio.
Here, vintage and modern synths joined forces with live drums and the occasional robot-voiced interjection, resulting in a body of work that’s dazzlingly off-kilter, rich in detail and instantly addictive. The artist himself states: “I think the music has a sense of urgency which relates to city life. Still,
Stiletti City is a small and cozy place, a bit freaky and not gentrified.” Stockholm label Studio Barnhus is delighted to invite fellow travellers into this secret town – welcoming and full of surprises.

Channeling inventive sound design into incisive, characterful techno variations, Jurango returns to Livity Sound with an eight-track double EP — his longest release to date. Taíno Gold captures a moment in time for Bristol-based Nate Reece's continually evolving sound as it draws on the full spectrum of UK club music.

Following a debut for Livity's reverse label in 2021 and last year's An Amorphous Mass EP, Reece is more assured than ever tackling a variety of club-focused cuts. The tracks on the release all came together before, during and after a two-month visit to Reece's grandparents' home — an idyllic tropical environment in a small community at the top of a hill in the northern part of Jamaica.

Taíno Gold refers to the island's indigenous Taíno community and the legend of a witch luring Spanish settlers into a trap on the Martha Brae river. There are no messages explicitly embedded in the music, but the release is both a personal reflection of Reece's own experiences and family heritage, plus a reminder about the enduring sceptre of colonialism and the continued need to fight against it. From absorbing Jamaica's fraught history through museum and plantation visits to the abundant nature in the garden surrounding his grandparent's house, the double EP marks a place in time for Reece, with eight advanced, ear-catching tracks as the end result.

From the cascading arps of 'Black Torches' to the tunnelling chords of 'Waiting For Trelawny', the melodic dimension of the Jurango sound is more confident than ever. 'Hibiscus' is a shimmering celebration of dub techno and crooked drum pressure and 'Chalk On Trees' basks in aqueous, fathoms-deep pads to close out the EP. Elsewhere, Reece brings new textural and tonal detail to his percussive workouts, splashing acidic noise around the angular experimentation of 'Maybe It's Broken' and firing off double-time rhythms to inject 'Double Sevens' with infectious urgency.

With the space afforded by a longer release, Reece widens out the scope of his artistic identity while absorbing the particular scene and setting that surrounded him while making the tracks. Taíno Gold is a vibrant next step for Jurango and a natural continuation of his work with Livity Sound.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

A Bristol x Paris link-up between SSSLIP and Bamao Yendé delivers with BP028. A label debut for both artists on the BPR original series. All killer no filler ear worms from across the spectrum. “On The Dial” and vinyl only cut “Don Plz” offer something for those sillier hours, while “Brek Stance” and “Kalypso” host the artists' deeper servings. A balanced collection of functional low end tools for the dance.

Bristol-based producer SSSLIP, known for their experimental club hybrid productions and a growing back catalogue of strong outings on No dice, ec2a and their own imprint SSS Audio. Sharing the EP with Parisian DJ and producer, Bamao Yendé, head of Boukan Records, blending inspirations through garage, broken beat, and Kuduro.

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.