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OTHELLO is the debut album by pianist and composer Orson Claeys. Bringing together influences from jazz, hip-hop, urban culture, and everyday life, the record offers the clearest portrait yet of an artist shaped as much by the worlds around him as by music itself.

The title refers to Claeys' full name, Orson Dwight Othello Claeys, and reflects the album's central concern:identity. Throughout the record, personal experiences, cultural influences, and artistic inspirations converge into a body of work that seeks to understand how an artist is formed, both within and beyond music. Musically, OTHELLO builds on jazz, strongly intertwined with hip-hop, contemporary culture, and ideas beyond traditional musical frameworks. For Claeys, music is not a fixed genre, but an open and evolving form of expression.

This broad perspective is evident in the album's carefully chosen collaborations. A track like "WHAT A NIGHT" first took shape during a studio session with indie-soul singer Sevens, whose harmonic ideas laid the foundation for the track. As the composition evolved, Claeys felt it called for a stronger hip-hop voice. Through a recommendation from Mixmonster Menno of STUFF., he was introduced to L.A. rapper IAMOMNI, whose contribution brought exactly the energy and perspective the track needed. The result unfolds like a late-night journey through Los Angeles, with IAMOMNI's contribution adding a sense of movement, character, and place.

Elsewhere on the album, "SPIRAL", featuring Belgo-Brazilian vocalist Helena Casella, grew out of a long-standing mutual admiration. Conceived as a meeting point between R&B and jazz, the composition balances the groove and emotional depth of the former with the improvisational spirit and spontaneity of the latter. The collaboration developed naturally from the outset, with Casella instinctively understanding the atmosphere Claeys envisioned while enriching the music with her own warmth and nuance.

A long-held ambition materializes on "SHADOWBOXING", where Claeys is joined by drummer, producer, and one of the key figures in contemporary Belgian jazz, Lander Gyselinck. Gyselinck's work, particularly his collaboration with Zwangere Guy on Pourriture Noble, was instrumental in showing Claeys how the language of hip-hop could coexist naturally with jazz, an idea that runs through OTHELLO. Drawing inspiration from boxing, the track is a musical equivalent of a fighter's walk towards the ring: focused, intense, and driven by the sense of anticipation that precedes stepping into the fight.

After this heightened intensity, the album gradually moves toward its closing statement. OUTRO / HANIN", featuring oud player Akram Ben Romdhane, a longtime collaborator whose playing forms a natural bridge between Claeys' previous work and the broader musical landscape explored across the album. The title references the Tunisian Arabic word hanin, meaning "nostalgia", a fitting conclusion to a work deeply concerned with memory, identity, and personal history.

Beyond music itself, OTHELLO is informed by a wider cultural landscape. Urban culture, with its visual language, creative independence, and sense of community, forms an important backdrop to the record. Sport also plays a significant role, particularly boxing and basketball, whose emphasis on discipline, focus, and resilience mirrors Claeys' own creative process. Rather than being treated as separate influences, these worlds coexist without hierarchy, reflecting an artistic vision that resists rigid boundaries and allows different disciplines, communities, and experiences to inform one another.

Black Truffle is thrilled to announce a second volume of unheard concert performances from legendary Pakistani kyhal singer Salamat Ali Khan, recorded at Berlin’s Neue Nationalgalerie as part of the MetaMusik festival in 1974. Like the first volume, the immaculate recording by Michael Hönig (of krautrock legends Agitation Free) captures Khan performing a single extended raag in the company of Shaukat Hussein Khan on tabla and Hussein Bux Khan on harmonium. In addition to his stunningly inventive and moving vocal performance, Khan is heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither). The lack of an underlying tanpura drone gives the music its characteristic floating quality, with the three instruments and voice masterfully dancing around one another as they sketch the outlines of this grand, 40-minute Raag Chandrakauns.

If anything, this epic performance of the late-night Raag Chandrakauns is even more seductively spacious and psychedelic than the music heard on the first volume. Obeying the traditional shape of Hindustani classical vocal music performance, a gradual rise in both pitch and rhythmic activity, the music hovers for twenty minutes in a reflective calm, the pulse only gently stated by the tabla while harmonium ornamentation and zither strums float by. In this meditative space, Khan gradually orients us to the contours of the raag, beginning with long notes at the bottom of his register. His improvisation at once builds with a stunningly firm sense of internal logic and seems liberated to explore every melodic and ornamental byway that comes up along the way. By the time we turn to the record’s second side, the music has grown into something far more frenetic, with virtuoso tabla passages at times occupying centre stage between Khan’s increasingly rhythmic melodic variations. Concluding with a sequence of unison tabla and voice passages of breathtaking complexity, the performance is met with rapturous applause. Arriving in a blue-toned variant of the first volume’s sleeve, with acclaimed musicologist Peter Pannke’s liner notes in the original German, Metamusik Festival Berlin ’74 Volume II is not to be missed. Essential listening not just for Hidustanti classic aficionados, but for anyone who needs reminding of the magic of collective music making in the moment.

2026 Repress

With Augustus Williams Metroplex welcomes one of Detroit's new generation of electro and techno explorers to the label. His debut titled ,,Increaser EP" offers four tracks of celestial funk deeply indebted to the classic sound of Metroplex. The EP starts off with ,,The Hook-Up", a bouncy yet minimal electro permutation built around a propulsive Bassline and a percolating synth arpeggio. On the other three tracks Williams flexes his techno muscle and shows his keen sense for deep and focused techno-soul with a futurist edge that has any dance floor heaving with energy. - most notably in the noisy abstractions of ,,Submission".

Mit A Kind Wave präsentiert Kid Francescoli sein bislang persönlichstes und klanglich vielseitigstes Album. Als zusammenhängende emotionale Reise erzählt das Werk von Liebe, Heimatgefühl, unvergesslichen Sommern, Fernweh und Heilung.

Zwischen Pop, Bossa Nova, Dance und cineastischen Klangwelten entstehen atmosphärische Songs, bereichert durch die Mitwirkung von Andréa, DEMIGOD und Samantha Alma Real. Begleitet von einer europäischen Tournee mit über 50 Konzerten unterstreicht A Kind Wave eindrucksvoll die künstlerische Reife des französischen Musikers.

,Es ist ein Bedroom-Album, das sich aber gar nicht wie eins anfühlt", sagt Glenn Morrow, Gründer von Bar/None Records, über ,Reseda Spleen", das lange verschollene Album von Ventilator aus dem Jahr 1996. Nach Jahren bei Permanent Green Light wurde Matt Devine klar, dass er weiterziehen musste. Devine stürzte sich kopfüber in sein neues musikalisches Kapitel: mit Earle Mankey als seinem musikalischen Mentor, Todd Rundgrens Klassiker ,Something/Anything" aus dem Jahr 1972 als konzeptionelle Inspiration und einem gebrauchten Tascam 388 - gekauft von einem Stuntman bei ,Mighty Morphin Power Rangers" -, den er in seiner Wohnung in North Hollywood aufstellte. ,Reseda Spleen" hätte bei Liebhabern von lautem, gitarrenlastigem Pop eigentlich Anklang finden müssen. Leider blieb die Existenz des Albums, wie bei so vielen Indie-Veröffentlichungen davor und danach, so gut wie unbemerkt - abgesehen von zwei begeisterten Kritiken (von ,The Big Takeover" und ,TapeOp"), die erst lange nach dem Verschwinden von ,Reseda Spleen" aus der Szene erschienen. ,Es ist so ein zeitloses Album", sagt Rob Zabrecky Possum Dixon. ,Es hat nicht diesen schrecklichen Glanz, mit dem damals so viele Bands überzogen wurden, und Matt hat nicht versucht, seine Gitarre wie Nirvana klingen zu lassen oder den Lo-Fi-Weg wie Pavement einzuschlagen; er war so im Reinen mit sich selbst und seiner Vision, dass ihn all das nicht beeinflusst hat. Es ist einfach so schön, dass diese Songs wieder herauskommen, denn ich glaube, die Leute müssen sie hören."

Rathmann spielen dunklen Gitarrenpop. Ungeschliffen und roh. Schmutzig, räumlich und mit einem Sinn für Romantik. Auf ihrem Debütalbum "Die Goldenen Zwanziger" haben sie zu einem klaren Selbstverständnis - einem eigenständigen Sound - gefunden und erzählen darin ehrlich und nahbar. Wenn in ihren Songs ein junges Paar ungewollt schwanger wird, Menschen aus der Bahn geraten oder sich dystopische Zukunftsaussichten breit machen - dann vertonen Rathmann abgründig und introspektiv, eingängig und wunderschön die Zwanziger. Ihre eigenen und das Jahrzehnt, in dem sie sie erleben. Vom Indierocker "Warum tut Liebe so" über den folkigen "Trauriger Geist" bis zum Italo-Western-Titeltrack des Albums - überall ist die klare Handschrift zu erkennen: Eine Band, die sich erlaubt, Band zu sein. Eine Band, die sich nicht am Zeitgeist, sondern ausschließlich an ihren eigenen Interessen orientiert. Und so findet man auf ihrem im Herbst 2026 erscheinenden Debütalbum mehr Anleihen von Leonard Cohen, Big Thief, Dr. Dog und Bands der Hamburger Schule als vom zeitgenössischen, deutschen Indiepop. Bei ihren Konzerten wie auch im Songwriting, Rathmann fangen in ihren Liedern den Moment ein: Die Unsicherheit unserer Zeit und die Tristesse einer soliden Quarter-Life-Crisis - immer aber auch die Freude an der Gemeinsamkeit und die Aufregung eines Lebens, das es noch zu entdecken gilt. Inklusive der Singles Wenn alles vorbei ist, Der Test in Deinen Fingern, Warum tut Liebe so & Trauriger Geist.

DPRTNDRP make a long-awaited return to Infernal Sounds with 'Byrnei', a release that's been quietly building anticipation across the 140 scene. Following their acclaimed 'What Ya Mean' EP in 2020, the duo are back with five heavyweight cuts that showcase exactly why they've remained one of dubstep's most respected production outfits for well over a decade.

Opening with the title track, 'Byrnei' wastes no time setting the tone. Rolling with DPRTNDRP's unmistakable swing, weight and groove, it's a certified soundsystem weapon - built to lock dancers into its hypnotic rhythm while delivering devastating low-end pressure.

Next up, 'Jiaozi' shifts into overdrive. A relentless barrage of razor-sharp percussion, cavernous basslines and seismic energy, it's an uncompromising slice of peak-time dubstep designed to hit with maximum impact from the first drop to the last.

'Fury' explores a deeper side of the duo's sound, drawing influence from their dub-focused alias, D-Operation Drop. Rich in space, texture and heavyweight sonics, it perfectly blurs the line between traditional dub and modern 140, combining meditative atmospherics with chest-rattling low-end.

Adding another dimension to the EP, Causa steps in to rework 'Fury', twisting the original into a hypnotic, distorted roller. Layered with his unmistakable wobble-heavy aesthetic, the remix pushes the track into darker territory, delivering an immersive journey of oppressive bass weight and razor-sharp sound design.

Bringing the release to a thunderous close, 'Backfire' is pure, uncompromising pressure. Stripped back, direct and devastatingly effective, it's arguably the heaviest moment on the EP; a no-nonsense soundsystem destroyer that leaves a lasting impression.

From start to finish, 'Byrnei' is a statement of intent. It's a masterclass in weight, groove and precision, reinforcing DPRTNDRP's status as true innovators within the 140 landscape. With five expertly crafted cuts destined for dancefloors and soundsystems worldwide, this is another landmark release from two producers operating firmly at the top of their game.




[d] B2. Fury [Causa Remix]

Meet Matas Petrikas, a music producer, DJ, and book author with a passion for electronic music. Born in Lithuania during the time when it was still a part of the Soviet Union, Matas began experimenting with electronic sounds during his teenage years using self-built instruments and recording equipment. In 1991, Matas took a trip to Berlin that would change his life forever. There, he encountered the early years of techno culture, which led him to co-found EXEM, one of the first house and techno bands in the former Soviet space. With EXEM, Matas was one of the pioneers of electronic dance music in Lithuania, and by the end of the decade, they had charted numerous hits. They performed live shows ranging from intimate clubs to massive arenas, sewing the seeds of the local electronic music scene. Since then he relocated to Berlin and has forged a musical solo career focused on live-sets, experimentation, and authoring the book 'The Joy of Electronic Music'. The Unknown is Matas’ first release on his newly formed imprint Dangė Records, focused on supporting electronic music from Lithuania and the Baltics. The 6 track EP forges his love for texture heavy hypnotic techno with industrial and warehouse leaning low end and percussion. Although mainly an EP rooted in driving a groove, the use of earworm worthy basslines, rave breaky drums, and squelchy lead synths is where Matas’ long career foray into many genres of electronic music shines through. Dangė Records releases electronic music from Lithuania and the Baltics—sounds that emerge from underwater, carried by artists who inherited the weight of transformation.

The UK Players & Friends Hills and Valleys, Rivers and Streams (A Tribute to Idren Natural) 9 brand new tracks by The UK Players. Voiced by Singers and Poets who knew Idren Natural personally. Recorded and Mixed by Supa Yout’ at Earth Works Studio, Amsterdam. Sleeve artwork and written testimonials from close friends and associates. Idren Natural aka Ras Natural aka InI Oneness, DJ, Singer, Chanter, Musician, was a pivotal player and pillar of UK/European Roots, Reggae, Dub, Sound System Culture. A humble Rastaman who did so much for so many, inasmuch as inspiring, encouraging, and connecting. He selflessly helped those less fortunate than himself. A strong advocate of the culture and philosophy of Rastafari. He was a commanding presence who lit up the stage, giving JAH all the glory. His passing was a great loss to the community. The UK Players Dub Band formed in 1996. They teamed up with Ras Natural/InI Oneness to record their debut 7” single ‘Further’ for Jah Works with Producer Jah Rej. This single gained exposure via Jah Shaka, Abashanti, and King Shiloh Sound Systems, even the famous Radio 1 DJ ‘John Peel’ played it. More recordings with Jah Rej at Seventh Sense Studio led to the debut album ‘Take Heed’. During the halcyon days of InI Oneness & The UK Players (1997-2004) they toured the UK and Europe, clocking up over 250 gigs in that time. Amongst brethren within the Rastafari community, the band became affectionately known as Ras Naturals band. Friends of Natural like Ras Iyah, Tony Roots, Sister Aisha, Wayne McArthur, and Barry Isaacs (among others) performed with them during this time. Members of InI Oneness & The UK Players never split up, throughout the years they branched out into other projects, reconvening for specials and one offs. Following Idren Naturals passing in 2022, the band stepped up to play his memorial show, where the idea formulated of making a tribute album to him. Ben King offered the use of Earth Works studio to help realise the vision. Work began with longtime live sound engineer Supa Yout’ in March 2024. Jah Rej assisted production on a number of these recordings, and sadly passed during the making of it, the last album he worked on. Various vocalists who were close to Natural, submitted vocals across the following year. The album was mixed and dubbed in March ‘25 at Earth Works by Soupa Yout' & Kingsway. Artwork and written memories/testimonials were then assembled. Everyone involved in the creation of this album knew Idren Natural personally. This album shines a spotlight on his spirit. Carrying songs of tribute, and messages for the times. ALPHA DUB: Every time the band played a gig, Natural would insist on starting with a dub. In that tradition, this album is no different. ‘Mandlion’ passing through the studio, headtopped a Melodica cut on it. Dubbed to the max by Supa Yout! NATURAL VIBE: The ‘Forward Fever’ crew from Belgium were one of the first collectives that Natural affiliated with in Europe. Here, Ras Cloud cleverly weaves all of Naturals song titles into the lyrics, creating a song in itself. WORD & FLESH: Fellowdread was born and raised in Kingston, Jamaica. Now living in Bristol, England, residing with Natural in his last days. His Poetry is rich in inflection, knowledge and wisdom, teachings that spark up the divine. ALL ABOUT LOVE: A pause for contemplation, this one stills the listener. Rootsman Rak’s words warn against complacency, and encourages action. A completely (natural) acoustic track featuring the skilled percussionist Jonah Dan. REMEMBER HIM: Inna Dubplate style, Barry Isaacs toasts to Idren in personal remembrance, reminding us all of the man he was. The track also features snippets of a phone call from Naturals oldest friend ‘Fergie Greenspears’ recounting memories. RISE UP RASTA CHILDREN: The legendary Tony Roots, graces the album with his unique delivery. Natural, The Players, and Tony go back a long way. A song of strength to affirm the soul, and rally against Babylon. Livicated to the one (Natural) SONG FOR THE RIVER MAN: During those halcyon days, many stages were shared with Albaroot, whom the band met whilst on tour in Scotland. Clark Innes (lead singer/songwriter) reminisces about the force of nature that was Natural, times shared, and that knowing, to never meet again. ONE STEP AHEAD: An interpretation of the ‘Look Inside’ riddim by Reuben Addis. Built for Sound System, it is the only track on the album that rolls into a dub. Lyrical Benjie literally entered the studio, rode the riddim without hearing it first, cutting his vocal in one take! A message for the times that sends shivers up your spine. THE PRAYER: Iman Onedub AKA Iman Gebre Iyesus, member of the Ethiopian Orthodox Tewahedo Church, met Idren Natural at Fairfield House in Bath. Here he seals the album with a recital of the Lord's Prayer in English, with Amharic. His rich textural tones elevated with a one away riddim to carry the listener home.

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

A quick scan of the world’s favourite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet »The System«, ingeniously culled and sequenced from Ranaldo’s soundtrack work for Dutch filmmaker Joris Postema’s ›eco-doc‹ of the same name, nonetheless feels like a reawakening. Quietly released in a vastly different (and much more ›filmic‹) form by Doxy Music/Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material written and recorded for the film, to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst.

Given the state of the world, it’s not surprising that the film Ranaldo scores – a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur – is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs.

As it turns out, the gorgeous scope of Lee Ranaldo’s guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon – the high plains raga of Bruce Langhorne’s »Hired Hand«, Neil Young’s sparse and ghostly solo transmissions on »Dead Man«, or the monolithic mantras of Popol Vuh’s »Nosferatu« – its devotion to spectral gestures and meditative song forms launches it firmly outside of the OST orbit into a universe fully its own.

It might seem like a long journey from the Lower Manhattan rhythmic grime of the album’s opener »Tajikistan (Nice to Meet You)« (reminiscent of guitar opuses like Robert Quine and Jody Harris’s »Escape«) to the ringing cowboy chords of the final track, but the narrative logic of the LP pulls the listener along as solidly as a pack horse. As the LP unwinds, and collaborators like Jim Jarmusch, cellist Leila Boudreil, Yeah Yeah Yeahs snare shaman Brian Chase, and guitarist Yonatan Gat take their places, new vistas unfurl: the ritualistic thrum of »Berlin Blockade«, the haunted overtone palaces of »Bergelmir«, and the cavernous acoustic strumming of »Instruments of Violence«. It all winds up with the high lonesome standard »Cool Water«, each unhurried note trailing off into long-tail reverb, layers of shifting vocal harmonies pulling everything skyward – a hopeful note in an album where existential dread never lurks too deeply below the surface.

In the end, »The System« functions both as a film score and a hallucinatory (mostly) instrumental guitar record, revealing a sensibility not too often spotted in the 21st century – a liminal space where the song, the jam, and the meditation merge into a blurred whole. »The System«’s expansive fabric, emerging from a collective sound circling around Ranaldo’s signature tones, envelops and ampl amplifies the contributions of its community of creators – the perfect antidote to narcissistic despair. Much like the subjects of the film light the way towards intra-generational resistance, the music of »The System« reveals a path through gathering darkness. The world could be yours if you follow.

– Tom Carter

Here at Tuff Kong Records we really like to push our boundaries and explore different sounds, we're passionate with music at 360° and so are these guys we have decided to bring to your attention. Dumbo Station is a nu-jazz ensemble out of Roma, Italy that we've met during a live jam with legendary MC Danno of historical roman hip-hop group Colle Der Fomento. They immediately caught our attention and after listening to this masterpiece we decided to collaborate with them and Roman jazz imprint AlfaMusic to release their debut full-length "Tirana Cafè" on limited edition vinyl. The 11 songs featured on their first studio effort will take you on a trip through different soundscapes with the quartet as your guide, joined by Italian talents the such as vocalist Davide Shorty as well as Maurizio Giammarco's sax and Elvio Ghigliordini's flute. These young fellas have managed to merge nu-jazz with soul, funk and modern sounds creating a true masterpiece.

Featuring timeless waltzes and polkas by Johann Strauss I & II , including "An der schonen, blauen Donau", "Kaiser-Walzer" and the festive "Radetzky March", this album captures the sparkle, elegance, and tradition of Vienna's celebrated New Year concerts. Conducted by Willi Boskovsky and Hans Knappertsbusch , these historic recordings from the late 1950s and early 1960s offer an authentic and joyful listening experience, perfect for classical music lovers and New Year celebrations alike.

Deathbomb Arc has a long history of bringing unlikely artists together for collaborations. From True Neutral Crew featuring Grammy winner Daveed Diggs (clipping.), SB The Moor, and members of Ratsmagick to the Arc Mountain album which paired artsts from the Deathbomb and Hausu Mountain rosters including Fire-Toolz (WARP) and They Hate Change (Jagjaguar). Now Deathbomb is excited to share this surprise crew release from BBBBBBB, Fatboi Sharif, and Ratsmagick, entitled 'Christmas in Sodom'.
All three acts come together for the title track, and then contribute solo efforts to expound on the dark absurdist themes in their own manner, providing a deconstruction of how all the styles were combined.
The duo of BBBBBBB are leaders of the underground electronic hardcore scene Japan, often playing alongside their peers and collaborators, Dos Monos. BBBBBBB released 'Positive Violence' on Deathbomb Arc last year and will release their followup with the label this coming fall in conjunction with their 2nd tour of the UK/EU.
Fatboi Sharif's most recent full lengths are an impressive one-two punch released by Deathbomb Arc and then Backwoodz. Sharif returns to the EU/UK this Sept, after a special appearance at the Clipping. curated 'Splendor & Misery' fest in New York in Aug.
Relative newcomers, the Philadelphia based Ratsmagick, are masterminded by Dennis Martinelli of Knifeplay. This loose 7ish piece group includes Deathbomb Arc founder Brian Miller of Foot Village (Fat Cat) as one of their two, dueling drummers. Outside of Knifeplay's extensive touring schedule, Dennis has found time to finish a Ratsmagick full length due on Deathbomb this winter.

"Amour" ist ein bedeutender künstlerischer Meilenstein für die Geigerin und Social-Media-Sensation Esther Abrami. Erstmals stellt sie auf einem Album eine groß angelegte Originalkomposition ins Zentrum. Ihre neun Sätze umfassende Suite für Violine und Orchester ist eine ausdrucksstarke Auseinandersetzung mit der Liebe in all ihren Facetten und fängt das gesamte Spektrum der Emotionen ein - von Zärtlichkeit und Leidenschaft bis hin zu Sehnsucht und Verlust. Über die Suite hinaus versammelt "Amour" eine vielfältige Auswahl ikonischer klassischer Werke rund um das Thema Liebe, die von Esther Abrami neu für Solo-Violine und Orchester arrangiert wurden. Ein besonderes Highlight ist Nino Rotas "Romeo and Juliet: Love Theme", mit der gefeierten Mezzosopranistin Marina Viotti. Ihre Stimme tritt dabei in einen musikalischen Dialog mit Esther Abramis Violine. Das Programm umfasst weiterhin Instrumentalarrangements von Céline Dions "All by Myself" sowie Georges Bizets "Habanera" aus "Carmen", wie auch neue Versionen für Violine und Orchester von Francis Poulencs "Les chemins de l'amour", Christoph Willibald Glucks "Tanz der seligen Geister" aus "Orfeo ed Euridice" und der virtuosen "Chaconne in g-Moll" von Tomaso Antonio Vitali. Auch eine neu arrangierte Version von Charlie Chaplins "Désillusion amoureuse" aus seinem Film "The Circus" ist auf dem Album enthalten. Im Laufe ihrer Karriere hat sich Esther Abrami einen Namen damit gemacht, klassische Musik einem breiten und vielfältigen Publikum vorzustellen. Mit "Amour" verbindet sie erstmals ihre unverwechselbare Stimme als Interpretin mit ihrem Schaffen als Komponistin. Das Album erscheint als CD sowie als Doppel-LP in einer limitierten Ecorecord InkPlosion Version, bei der jede LP individuell gestaltet ist. Die Doppel-LP enthält außerdem 3 Bonus-Tracks, die bisher nur digital erschienen sind.

EM Records is proud to present the first new album release in 25 years from Australia's Sheriff Lindo, dubmaster of the Southern Hemisphere.
His "Ten Dubs That Shook The World" EM1119CD/LP, released in 1988, has been growing in stature since its release, supported by its re-issue on EM Records, and in the meantime the Sheriff has been working steadily, deep-local style, honing his skills with the Australian sound systems Firehouse Sound and Earthlink Sound. The tracks on "Aftershock Dubs", recorded between 1990 and 2005, while never officially released, have been played as dub plates at sound system parties, proved movers, tested in the heat of action. Recorded at Lindo's 4/5 Studios, these specials were chosen by Japanese sound system savants Takuto Kuratani (Ruv Bytes) and Atsushi Muneshige (Touch the Sky/Corner Stone Music) from a cornucopia of goodness supplied by Sheriff Lindo, mastered by Kuratani for maximum impact. EM Records' first-ever Dancehall release is available on vinyl and CD, with two bonus tracks on the CD. One track features the vocals of Ras Roni; all tracks feature the experience-forged Dub sense of the Sheriff. More than a quarter-century of love, knowledge and soul-science has been distilled here. Don't miss it.

DJ Support: Danny Valentino, Michael Gray, David Penn, Purple Disco Machine, Sam Feldt, Don Diablo, Fedde Le Grand, Mark Knight, Husky, DJ Dove, Hutch & more.

Fool’s Paradise’s latest Sampler sees 4 big releases from DJ Fudge, Soul Avengerz, Sparque, Michael Gray, Dr Packer, Danny Kane & Colonel Red.

Southern Fried Records return with the second instalment of Refried & Tested, a three track EP built for peak time festival business. Bass heavy and attitude driven, this one brings together friends old and new for a run of dancefloor tracks that don't let up. It's Southern Fried doing what it does best - club ready energy with real personality behind it. Elado opens Refried & Tested 002 with 'Don't Stare' - a bass-heavy, attitude loaded cut built for the dancefloor. It's peak time energy with a real sense of swagger, setting the tone for the rest of the compilation. Jordan Peak takes on Elado's 'Don't Stare' and delivers a whopping remix, reworking the original into a festival ready peak time weapon. A standout moment on Refried & Tested 002. lau.ra teams up with Bag Raiders for 'back2back', bringing dance floor energy and attitude to Southern Fried's Refried & Tested 002 - a collaboration between friends old and new that delivers exactly where it counts. Van Damn closes out Refried & Tested 002 with 'Hit You', a bass driven cut that keeps the compilation's dancefloor energy running right to the last track.

DJ Support: FISHER, ACRAZE, AFROJACK, Rebuke, ALOK, Mau P, Tchami, MEDUZA, James Hype, Joel Corry, Hot Since 82, Dombresky, Oliver Heldens, OFFAIAH, Danny Howard, MEDUZA, Bob Sinclar, Joel Corry, Groove Armada, Sam Feldt & more.

Toolroom’s next Sampler showcases 4 big releases from Malaa, Zaark, ESSEL, Cristoph, Mark Knight & Wh0.

Die Wurzeln der NWOBHM-Legende Tokyo Blade gehen zurück bis in die frühen achtziger Jahre, als die Schulfreunde Andy Boulton (Gitarre), Andy Robbins (Bass) und Steve Pierce (Schlagzeug) in Wiltshire unter dem ursprünglichen Namen White Diamond starteten. Irgendwann tat man sich mit Sänger Alan Marsh zusammen und machte zuerst als Killer und dann als Genghis Khan weiter. Die Doppel-Single »Double Dealin’« erschien 1982 und sicherte Tokyo Blade einen Plattenvertrag beim neu gegründeten Label Powerstation Records. Im November 1983 stand schließlich das Debütalbum in den Läden.
Gründungsmitglied und Gitarrist Andy Boulton erläutert: “Die Platte wurde im Wickham Studio in Ost-London aufgenommen. Wir hatten lediglich vier Tage zur Verfügung und es war ein Albtraum. Immer wenn wir fertig waren, fielen wir todmüde um und schliefen sofort auf dem Studioboden ein. Und am nächsten Tag ging alles wieder von vorne los.“
Es wundert demnach kaum, dass Andy die Atmosphäre im Studio als angespannt bezeichnet: “Wir dachten, uns würden wenigstens zwei Wochen zur Verfügung stehen, aber am Ende mussten wir alles mehr oder weniger live aufnehmen. Im Grunde genommen haben wir die Songs für das Album ausgewählt, die uns am besten gefallen haben zu diesem Zeitpunkt.”
Während die Pressereaktionen im Vereinigten Königreich, speziell beim Kerrang!, nicht überwältigend waren, wurden Tokyo Blade in Kontinentaleuropa von Magazinen wie dem Aardschok (Niederlande) und Rock Hard (Deutschland) bereits als die neuen Iron Maiden gefeiert.
Diese erweiterte Re-Issue des ersten Albums von Tokyo Blade kommt mit einer Fülle von Bonus-Material: als da wären die vier Songs der »Midnight Rendezvous«-EP, nämlich “If Heaven Is Hell”, “Highway Passion”, “Midnight Rendezvous” und “Mean Streak”, sowie “Powergame” und ”Death On Main Street” von der »Powergame« 7”, plus ein Stück namens “Machine Run”, das 1982 auf der Ebony-Compilation »Metal Maniaxe« unter dem Bandnamen Madame Guillotine erschienen ist und in Hull aufgenommen wurde.
Transfer, Audio-Restaurierung und Mastering durch Patrick W. Engel bei TEMPLE OF DISHARMONY im Februar 2021 / Januar 2026. Cutting durch SST Germany auf Neumann-Geräten für optimale Qualität auf allen Ebenen. Die ultimative audiophile Ausgabe dieses zeitlosen NWOBHM-Klassikers!

At Curated By Time, we’re heading back into the archives once again, this time revisiting Aretha's Reign by Harold Heath.

Originally released on Sensei in the early 2000s, the three-track EP stands as a great example of the UK tech house sound of the era, built around solid grooves, crisp drums and understated production.

Now reissued on Curated By Time, Aretha's Reign returns to the dance floor just as relevant as ever.

Thursday, 2025. Philadelphia. South Philly, to be precise. A basement, to be even more precise. And not just any basement, but the subterranean headquarters of Zillas On Acid.

Which is where Roman Flügel found himself, presumably with good intentions. Some time before that, he had decided to wake Sister Midnight from its slumber.
But rather than simply carrying on where things had left off, a new idea was needed. Enter Sister Midnight Special Products: a new series dedicated to collaborations, chance encounters and other musical situations that deserve to become records.

No grand manifesto, no five-year plan. Just making music with people you like, in places you happen to find yourself, and seeing what happens. Special Product 01 is “Conga Dream,” born from a basement jam with Zillas On Acid and apparently unwilling to behave itself ever since.

Three musical free spirits meet somewhere between the basement, the dancefloor and the more pleasantly confused corners of the mind. Club music is involved, certainly, but functionality has been politely asked to wait outside. Instead: pocketprotector synthesizers, a little E-mu Proteus 3, assorted electronic activity and, as advertised, congas.

The result is less a tool than a small trip. Or perhaps a tool for taking small trips.
Either way, it works.

Zillas On Acid put it like this:
“A basement jam deep beneath the streets of Zilladelphia yields surprising results: pocket protector synths, a dash of E-mu Proteus 3, and yes of course the aforementioned congas.”

And with that, Sister Midnight Special Products is officially open for business.

Dream on.

Mastered by Mike Grinser at Man Made Mastering.

Artwork by Saskia Randt.

We release our second record, COPPIES002. Another hand stamped white label EP, collecting tunes from thecommunity, for the community. This time with tracks by Kerr Wilson, Salomo, illousion and APRS. Kerr starts on A1 with his "The Key To My Heart". He showed the first version of the track to Robert around 4 years ago in a memorable summer spent together. We made the promise that this will be pressed on record one day and, here it is! Thanks Kerr! It's a melancholic late-summer tune that makes you tear up and feel like the warm euphoria won't last forever, but it will surely return if you're patient. Salomo follows with a similar moody approach on "Say less (on the DF)", even though we can argue about the meaning of the title ;). illousion builds more tension on the flipside with "Masc or Mask". Entering dubby, rolling terrains with more high intensity drum patterns for later moments of the night. APRS is closing the EP with "I Want to Speak" on B2, maybe the counter argument to Salomos desire of a less noisy dancefloor. He crafted a minimal, loopy trip that drags you down the rabbit hole and won't iet you go til the party is over. COPPIES002 is available on vinyl only with digi download option

VRIL returns to Delsin with KRUX. The crucial point, the moment where everything converges. On KRUX, a new direction was chosen, built on the strong foundation of VRIL's dub-driven sound. For the first time, VRIL presents multiple artist collaborations on his new album. Working closely with friends and fellow musicians has been a crucial part of shaping KRUX where five collaborations with Aurora Halal, Verraco, Rene Wise, AZARI and ATEQ form the core of a 13-track journey. Framed once again by the visionary artwork of Daniel Martin Diaz, KRUX captures a moment of convergence: between generations, humans and machines. Fusing past, present and future into a singular moment.

Jan Kincl, a Croatian producer, DJ and live performer with releases on BBE Records, Far Out Recordings, Sonar Kollektiv, and Get Physical, returns to his own Cycle Records with "Lights Out", the label's sixth release. Written and produced at Cycle Studio in Zagreb, it arrives in Main and Alternative mixes. The remixes come from Trinidadian Deep, a deep house producer and DJ mentored by Ron Trent, with releases on Neroli, Vision Recordings, Toto and Makin' Moves, as well as his own Native Bush - Many Moods of Music imprint. "An appropriate title. This is definitely a tune you want to hear when you closes your eyes on the dance floor, the vibe gets deep and you the lights go down." - said DJ Kemit. Intergalactic Gary called the record "Deep, atmospheric and emotional", while DJ Lady D summed up the contrast at the heart of the release: "Love the original, gives classic house vibes and TD offers a modern deep take." Early supporters include DJ Deep, Volcov, Ian Friday, DJ Kemit, Intergalactic Gary, Michael Reinboth, DJ Lady D, Bill Brewster (NTS Radio), Iron Curtis, Delfonic, ?me, Rohan Rakhit (Worldwide FM), Laani (Rinse FM / Worldwide FM / Jazz re:freshed) and Sebastian Hampf (ByteFM), among others.

The third release on Sapore Italiano dives into the hypnotic and untamable power of fire.

At the heart of the release is Fuoco, a contemporary reinterpretation of Lino Rufo’s composition, reworked by Devozioni into a warm and emotionally driven club anthem.

On remix duties, a carefully selected cast pushes the record into deeper club territory, blending Italo disco, tech house and cosmic grooves with modern production aesthetics. The result is a versatile EP that moves effortlessly between peak-time moments, sunrise sets and leftfield dancefloors.

Essential for fans of: Italo, Cosmic, Indie Dance, Modern Disco and underground house music.

Following the instant success and subsequent repress of its inaugural release, Stones Taro’s self-release experiment "Foglore" returns with its second installment, further expanding the captivating universe built in Part 1. Rooted in the same core concept—a seamless blend of dubby, fog-laden sound design and a timeless aura reminiscent of ancient folklore—this four-track EP solidifies the very definition of "Foglore." On the A-side, "Weather Wheel" sets an energetic tone as masterfully mixed, chopped breakbeats seamlessly dissolve into hazy, atmospheric pad sounds. It is followed by "Moss Pulse," a track whose precise sound design acts as a natural hub bridging the worlds of Dub Techno and Dubstep. On the flip, "Whorls Of Smoke" delivers a fresh, hypnotic dance cut driven by an intricate interplay between a half-step groove and tam strikes. Closing the EP, "Acid Fog Ritual" combines sticky acid basslines with a deliberate, low-tempo beat to generate a deeply immersive psychdelia. Expanding on its predecessor while boldly redefining its own boundaries, Foglore#2 stands as a brilliant testament to Stones Taro’s evolving sonic vision.

After a couple of Echo Labs 45s and an ECR release - the ECHO EDITS sub-label is back once again, with the BREAK CRACKER in 2026

After the last latin flavoured joint on the label, we head to an all out Funk and Jazz party with a couple of cover versions of dancefloor favourites, never on a vinyl 7” before - given an added makeover for a double sided 45 bomb.

“I Want You Forward” takes a big band version of the Jackson 5 monster hit originally released on an LP. After being chopped,looped and layered with sound FX plus JA hype vocals to take it to the next level - this has been a favourite dubplate to start DJ sets with a bang !

“Psychedelic Drummer” is the Horace Silver penned soul-jazz cut that spawned various other vocal and instrumental versions that have been dancefloor favourites in mod clubs and funky jazz sessions over decades. Originally a very short track on a private press LP - it was the massive drums that made this ripe for more exposure with nothing more added - just cut-up, rearranged and extended for club play.

2026 Edition, black vinyl



Released in 2012, *Rave Age* is Vitalic’s third studio album. With this album, the French producer returns to a more direct, club-oriented sound with some pop influences. Among the standout tracks are “Stamina” and “La Mort sur le Dancefloor,” featuring Rebeka Warrior. Rave Age is an album that pays homage to rave culture while retaining Vitalic’s powerful signature sound.

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

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

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

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

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

Mystica Tribe and Scopeotaku have formed an international dub alliance. Taking their sounds into melodic experimental electronic dub territory. Previously, both have fused their own cultures and personalities into numerous dub releases. Now they are expanding their parameters by collaborating on a project that encompasses both their love for psychedelic and electronic audio combined with heavyweight dub reggae rhythms.
Mystica Tribe is the musical alias of Tokyo, Japan based producer Taka Noda. Drawing on a wide range of influences from dub, soul, bass and rhythm & blues. Mystica Tribe has been developing a very distinctive sound that exists in a weird freaked out zone, between dub and techno. Noda is especially interested in deep psychedelic music and this is reflected in his productions. Which are equally suited for late night listening sessions or on bent broken dancefloors.
Scopeotaku is the alter ego of Scott Prentice, a Glasgow, Scotland based artist. Scopeotaku has experimented with audio since purchasing a sampler and a four track cassette deck many many moons ago. His love for left-field dub and eccentric sounds have led him to create a variety of output, from industrial ambient, illbent electronics to mutant dub.

The groove never skipped a beat. 10 years after Global Warming and 2 years after Breaking to the Bus Stop, Romain Dalmasso aka Lord Funk, remains an insatiable crate-digger driven by one thing: the dancefloor. With his 3rd LP, More Orgasms, he drops a record that literally bleeds club culture and raw funk.

This is a deeply organic album. Moving away from clinical productions, the french producer gathered a tribe of top-tier musiciansto bring a living, breathing soul to every track. It’s an in-depth study of groove where cutting-edge electronics meet organic warmth and human vibration.



The tracklist is a map of his musical heart: from the R&B anthem First Crush co-written with his partner-in-crime Guillaume Atlan (The Supermen Lovers) and ignited by Shahdo, to the sharp 80s-Blondie energy of Merryn Jeann. True to his hedonistic roots, the vinyl sleeve doubles as an adult board game. More Orgasms isn't just a release; it’s a tangible piece of club culture—a heavy, singular pressing for the diggers and the lovers who want music that has soul and sweat in its DNA.

Risk/Reward’s fourth release sees one of the UK’s most prolific and recognizable Producer/DJ’s take the elevator all the way down to the basement of the Tech House sonic spectrum…

Archie Hamilton has achieved superstar status after over a decade of consistently excellent musical output. As the name suggests, Friends in Low Places sees him return to the underground with the rolling, acid-laced, “for the heads” sound that first saw him explode on to the scene 10+ years ago, supplying 3 original tracks that will surprise and delight in equal measure!

A1: NyLon blends the dreamy shades of 90s Italo with the rugged bounce of golden era UK Tech House, to create a beautiful, bold fever dream. Intricate synth melodies, rudeboy vocal cuts and transcendant pads play out over crunchy swinging drums. A bold opening statement to kick off the EP.

A2: The energy kicks up to 11 on Trance-Tech bomb No Signal, a certified weapon of mass dance floor destruction! Vintage Archie rolling 303 bass layered with complex acid lines, haunting siren calls and relentless, gritty drums make for a powerful peak time standout that will have jaws dropping!

B1: On the flip side Archie takes you Higher with another signature roller that’s instantly familiar yet enigmatic. Punchy yet intricate drums, deeply groovy bass, a variety of ear worm melodies and an oh so familiar voice take you up, up and away in to the atmosphere. An instant classic from a man who’s made his fair share.

B2: Returning to the scene he played a key role in building after almost a decade out, UK Tech House DON Gideon Jackson delivers a gargantuan remix that could very easily reduce the club to rubble if not handled carefully. No element of Higher was spared in this rework, but the weight and pressure get cranked up to the absolute fullest - tougher than tough stuff from the OG!

Warmer than warm club/techno groovers by the man Brooks Mosher, delivering his third release on Dolly. 4 very strong cuts with exactly that dreamy & sensual feeling which might be the main reason why we like to dance & sweat in the dark so much... body to body with the eyes closed, far away from everyday trouble... Dance, make love and heal yourself. Powerful dj-tool on several levels!

2x12" Vinyl

Limited Edition 500 Copies

Remastered

Inside Out Cut - Starlight Coloured Vinyl

Original, Baby Doc & The Dentis, John 00 Fleming, Reinier Zonneveld, Charlotte De Witte, Red Jerry remix

Embark on a nostalgic journey through the pulsating beats of the 90s with the iconic anthem “The First Rebirth” by the visionary duo Franky Jones and Axel Stephenson. Since its inception in 1993, this timeless classic has etched its place in dance music history, and now it returns in a dazzling new avatar.

The much-celebrated track has been meticulously repackaged in a sleek, cool sleeve, accompanied by an electrifying array of both recent and classic mixes. Some of these renditions, previously confined to digital realms, make their long-awaited debut on vinyl, adding an extra layer of allure to this collector’s dream.

This exclusive 2 x 12" vinyl edition is strictly limited to just 500 copies worldwide and features a unique Inside Out cut, pressed on stunning Starlight vinyl — a striking black colour with vibrant coloured speckles, making each copy visually unique.

Don’t miss your chance to own a strictly limited piece of dance music history and immerse yourself in the reawakening of this electronic masterpiece. Only 500 copies available — once they’re gone, they’re gone.

Sa Pa presents Rhythm From Ambient, the second release on Dub Techno For Life, delivering four experimentally tipped house and dub techno tracks.

Leading with ten minutes of undulating, swamp-soaked grooves, heavy dub weight and scattered, gravel-like percussion, “Rhythm From Ambient” shares the A-side with its companion “Rhythm” - bringing a rougher, rawer energy that revives an industrial techno cut originally intended for Sa Pa’s MDR EP (2015).

On the B-side, “Last Dance” is an extended deep house-styled ‘Ballroom Dub’ that’s a warmly haunting mixture of atmosphere, groove and slow-burning euphoria. Closing the EP is “Bo Riddim”, a slower experimental number with deep sub-bass, heavy drums and laced-out percussion underpinning experimental textures and melodic fragments.

Following up the Girls On Tour EP (DTL001), Sa Pa delivers another four cuts for Dub Techno For Life, the artist’s newly launched label, continues its push into deep house and dub techno territory with a self-styled experimental streak.

Ten Numero-minted, dance floor ready dive bombers from disco's all-to-brief heyday, previously swept under rug by the whitewashed glitz and glam of the era. Chugging grooves, bubbling synths, soaring strings, and sonorous voices are guaranteed to light up your night, on living room rugs and dance floors alike.