Search:dance decade

Back In Stock!

The debut collaboration between techno alchemists Ben Klock and Lucy will probably provoke quivers of anticipation before a single note has been heard. After all, both producers have carved out names for themselves as scene innovators at what they do, and both have already proven that they can more than capably work in a duo format without sacrificing an iota of their unique aesthetics: in Lucy's case, there has already been the sublime Zeitgeber pairing with Speedy J., and Klock has joined forces with the likes of Marcel Dettmann to craft some of the more memorable output from the Ostgut Ton label. This new release makes good on each producer's talent for working with epically unfolding tracks, maintaining a strong command of both 'drone' and melodicism, and envisioning sound as a kind of inter-dimensional mass transit. As the record indicates, things can get very interesting when the two working methods superimpose perfectly, but can be just as interesting when the two fall slightly out of phase with one another.



Listeners familiar with the classic kosmische feel will be taken immediately by the opening gambit "Bliss," whose feeling of floating through the coldness of space is accompanied here by nicely warm production values. The bassline that introduces the subsequent track ("War Lullaby") is close to being a continuation of the opener's leitmotif sequence, although with a change in atmosphere that will keep curious ears from turning away too soon: an FX-shrouded voice delivers a monologue at once seductive and foreboding, followed by a confident kick thump with ephemeral trailing clatters in tow. This affective orientation pulses through the whole record well, building up to the second rhythmic track ("Santeria") which is the busiest and most engaging of the bunch. Here a variety of sonic flavorings are ritually thrown into the pot and allowed to simmer - fleeting snatches of conga, phasing zaps and rhythmic ricochets all make for a rich concoction that epitomizes the progress that has been made in techno music within this decade. The closing "A Ghost Love story," like the opener, is a non-'dance' piece, but is no less compelling for that fact: as a foam of white noise pans between the listener's ears, a slurred / pitch-bent refrain conjures the feeling of either entering or exiting from some erotically tinged hypnagogic state.



Speaking of which, the overall impression given off by this record is that of a special kind of reciprocity: that is, of dreams influencing reality and reality feeding back into dreams. The rhythmic intensity of these tracks, at once an indicator of a hard and immediate reality, is regularly complemented by oneiric flourishes that make the partitioning line between these two realms of consciousness less distinct. As the next chapter in the Stroboscopic Artefacts saga, and in the personal journeys of both Ben Klock and Lucy, it will contribute to the ongoing mission of all these parties: giving longtime fans what they want while expanding their consciousness and inquisitiveness.

We welcome back our good friend Karotte with his first release on Break New Soil in over a decade! „XTC“ is pure Karotte dancefloor fire - weird, powerful and beautiful! On remix duties, we are psyched to have our good friend Jeroen Verhej aka Secret Cinema, who really needs no introduction to techno heads around the planet, and he delivered exactly what we've been hoping for: A relentless big-room Techno rework - boom! The second original track by Karotte is called „Drive“, and it's on the deeper side of things, yet not less intriguing at all. Welcome back home, Peter!

The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade.

“Marbles” originally came out late in 1970, the result of a collaboration between the fiery British guitarist John McLaughlin and drummer Buddy Miles. Miles was hot off his time with Jimi Hendrix, and producer Alan Douglas, who’d been instrumental in putting together the Band of Gypsys group, attempted another crossover combination with a brand new, blazing guitar god. Also on the date was Larry Young, an organ player best known for his expansive jazzy albums on Blue Note, and several veterans of Buddy Miles’ funk-rock combos. The resulting mixture produced in “Marbles” a powerful, driving rhythm anchoring an addictive riff that steamrolls through the cut in a fashion not unlike the motorik sound of Velvet Underground or Can. Mr. K’s edit leans heavily on the drums, naturally, with a long, tailor-made intro and a mesmerizing focus on the main riff, extending things well past the seven-minute mark.

Ten years later, the world of music was in an entirely different place but a good guitar riff coupled with a driving beat was still powerful currency on the dancefloor. This time, the group was Scottish new wave-punk group APB, whose single “Shoot You Down” had garnered unexpected peak time play in cutting edge NYC hotspots Danceteria, the Peppermint Lounge, the Ritz and the Mudd Club. “Shoot You Down” combines the urgency of the Clash with the free for all vibe that characterized the downtown scene (and throws in a chant borrowed from P-Funk for good measure). Mr. K has created a long instrumental opening that leads into the vocals, giving the tightly-wound 7-inch single a proper extended 12-inch treatment it deserved but never had before.

The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.

One of the world’s premier house DJs, Junior Sanchez re-imagines one of his early classics, releasing ‘Be With U 2.0 (feat. Dajae)’ via Club Sweat.

As a passionate advocate of preserving the spirit of house music Junior Sanchez mixes ingredients of the 1999 original, situating the warm buoyant bass underneath Dajae’s fervent and impassioned vocals, while implementing spirited sax tones for a soul-fulfilling affair.

An iconic anthem that has lit up dancefloors for over two decades, is served dance music justice with its rebirth. Junior Sanchez bestows the ‘Be With U’ gift upon a new generation, coupled with remixes from Yolanda Be Cool and Dance System.


Supports from: Claptone, Anna Lunoe, Tommie Sunshine, Sacha Robotti, David Penn, Riva Starr, Kryder, Shiba San, HeavyFeet, Kevin McKay, Jamie Jones, Pat Lok, Heldeep Radio - The Noise House, Vanilla Ace, Moon Boots, Norman Doray, Nick Catchdubs, severino panzetta, Don Diablo, Charles J, and Patric la Funk, TOCADISCO, Chris Lake, Paco Osuna, Dennis Cruz, Bingo Players, Mendo, Riva Starr, Don Diablo, Joachim Garraud, and Roger Sanchez

Robert Hood returns to Rekids with ‘The Blueprint EP’ this July.

Following 2020’s ‘Mirror Man’ LP on Radio Slave’s Rekids, Detroit pioneer Robert Hood returns to the label with a four-track EP of his trailblazing minimal techno. Leading the release, ‘Chroma Light’ opens with cinematic pads and pounding 4/4 patterns as twisted synthesis modulates throughout for a striking start. Followed by ‘The Majestic (Deeper Edit)’, with rattling percussion and fiercely relentless stabs, Hood shows his intent in creating propulsive, dancefloor focussed cuts across the EP.

On the flip, ‘The Majestic’ takes the B1 spot, expanding on the previous track with wild synths and his signature machine-like drums before ‘Ultrasonic Room’ closes out the release with eerie atmospherics and an underlying hypnotic pulse taking centre stage.

A founding member of Underground Resistance alongside Mad Mike Banks and Jeff Mills, Robert Hood is one of techno’s originators, with his decorated career spanning three decades across labels like Tresor, Peacefrog, Music Man Records, and of course, his own M-Plant.

When the first Placid Angels album dropped in 1997, John Beltran was already an established force within dance music’s then-emerging scene. He had a knack for both the melodic side as well as intricately designed rhythmic programming. A signature style that went for his early records in the 1990s as much as it does for this new installment of the Placid Angles series. The blissful synths, Aphex Twin-era IDM and loose percussive patterns take you right back to where it all began when genres didn’t mean anything and Beltran was just starting out to experiment with any sound that would elevate your consciousness. The Michigan-born artist since has spanned a career of nearly four decades, remaining relevant all the while, by playing the music he found himself most drawn to express. By working with artists like Detroit veteran Carl Craig, labels such as R&S or more recently his LPs for Delsin or his joint work with Four Tet. Whether it be his more Techno-leaning or New Wave-inspired works, his takes on Ambient, or the more Latin-influenced productions - he has always stayed active and re-invented himself while painting his records with a clearly own palette that is full of beautiful melodies and a timeless sound-design. The album Touch The Earth itself comes as diverse as the artist’s own legacy, ranging from skittish, colorful UKG to proper pulsing sub-basslines as it progresses deeper into intelligent drum programming and further into the melodic ventures of what’s at the core of Beltran’s work.

2025 Repress

On his fourth album proper, Now Here No Where, Danish producer Kölsch (aka Rune Reilly Kölsch) is charting new terrain. Fans of his ‘years trilogy’ – 1977, 1983 and 1989, released on Kompakt over the past decade – were privy to a kind of sonic diary, an autobiography, tracking the artist’s early years through three albums of superior, meticulously rendered techno. Calling in collaborators where needed – most notably, the strings of Gregor Schwellenbach – there was still something deeply personal going down, not quite hermetic, but internally focused; the albums proved not only Kölsch’s mastery of his chosen form, but also his capacity to make techno personal, individual, and to trace histories of the self through music. But on Now Here No Where, Kölsch finds his feet firmly planted in the present. Reflecting on his new album, he notes, “It is fascinating to write about memories and feelings that have had years to manifest and develop, but how would I approach current emotions?” It’s a good question: our past coheres through the narratives we build around memories, but the moment we’re in, the newness of the now-ness, is harder to navigate; this story is as yet untold. For Kölsch, this makes Nowhere Now Here “an album about life in the year 2020. A time defined by confusion, misinformation and environmental challenges. It is an emotional interpretation of personal and mental challenges, observations and personal growth.” Kölsch does this with music that effortlessly balances emotional heft with the dancefloor’s brimming desires. It’s a space that Kölsch has navigated for a while now – one of techno’s breakthrough acts, an in-demand DJ across the globe and a prolific and restlessly creative producer, he’s also Kompakt’s biggest-selling act – but Now Here No Where ratchets up the lushness, making for a delirious drift across twelve tracks that are at once perfectly poised and deeply trippy. “Great Escape” is an elegant swoon, an opener that pivots on a sigh and a prayer; then “Shoulder Of Giants” bustles into view, subliminal clatter and an aching violin line giving way to a riff that glows with fluorescence and iridescence. “Remind You” combines an odd ECM jazziness with notes from a twenty-first century torch song; “Sleeper Must Awaken” mines huge buzzing synths and lets them float, in and out of sync, with reduced, ticking beats; “Traumfabrik” (dream factory – there’s a giveaway) is oddly lush, the tones malleable and plastic, morphing across a glitching undertow. There are sad, emotional washes of strings throughout the penultimate “While Waiting For Something To Care About”, while “Romtech User Manual”’s patterns twist and shape in the light. Throughout, Kölsch never keeps his eye off the dancefloor, and you can tell this is his still his home. “The amount of energy and joy I experience every time I perform, has a profound effect on me. It has inspired me so much of late and has become an integral part of my musicality.” “The way we join in expressing our hope for the future every weekend has given me so much,” Kölsch concludes. The club as a temporary autonomous zone, as a space both of freedom and of politics; somehow, that’s all here, Now Here No Where. “Most of all, it is an album about hope.”

Auf seinem vierten Album “Now Here No Where” betritt der dänische Produzent Kölsch (alias Rune Reilly Kölsch) neues Terrain. Seine Trilogie mit den Jahreszahlen 1977, 1983 und 1989, die in den letzten zehn Jahren bei Kompakt erschienen war, hatte seine Fans durch eine Art akustisches Tagebuch, eine Autobiografie geführt, die die frühen Jahre des Künstlers über die Länge von drei großartig produzierten Techno-Alben nachgezeichnet hatte. Wo es nötig war, wurden Kollaborateure hinzugezogen - allen voran für die Streicher, arrangiert von Gregor Schwellenbach -, dennoch zeichnete die Musik immer auch etwas zutiefst Persönliches aus, etwas nicht Hermetisches, auf eine bestimmte Art immer auch nach Innen fokussiert. Die Alben bewiesen nicht nur, wie sehr Kölsch die von ihm gewählte äußere Form beherrscht, sondern auch seine Fähigkeit, Techno zu etwas Persönlichem und Individuellem zu machen und der eigene Geschichte durch Musik näher zu kommen.

Auf “Now Here No Where” steht Kölsch nun mit beiden Beinen fest auf dem Boden der Gegenwart. Mit Blick auf sein neues Album stellt er fest: "Es ist faszinierend, über Erinnerungen und Gefühle zu schreiben, die Zeit hatten, sich zu manifestieren und zu entwickeln, aber wie nähere ich mich meinen aktuellen Emotionen?”. Eine gute Frage: Unsere Vergangenheit wird im Innersten zusammengehalten durch Geschichten, die aus Erinnerungen entstehen, aber der Moment, in dem wir uns befinden, die Neuheit des Neuen, ist schwieriger zu beschreiben; die Geschichte ist noch nicht erzählt. Für Kölsch ist “No Here Now Where” daher "ein Album über das Leben im Jahr 2020. Eine Zeit, die von Verwirrung, Desinformation und ökologischen Herausforderungen geprägt ist. Es geht dabei um die emotionale Interpretation von persönlichen und mentalen Herausforderungen, von Beobachtungen und der eigenen, individuellen Weiterentwicklung".

Kölsch tut dies mit Musik, die mühelos kleine Gefühlsausbrüche mit den großen Sehnsüchten der Tanzfläche in Einklang bringt. Es ist dieser Zwischenraum, in dem sich Kölsch schon seit einiger Zeit bewegt, als weltweit gefragter und gefeierter Live Act, DJ und so unermüdlicher wie kreativer Produzent (nicht umsonst ist Kölsch der “biggest-selling-artist” bei Kompakt), doch “Now Here No Where” treibt all das noch weiter auf die Spitze: ein enormer Sog entsteht, der uns über zwölf Tracks hinweg gefangen hält wie ein perfekt ausbalancierter Trip. Der Opener "Great Escape" ist pure Eleganz, ein Track, der irgendwo zwischen Seufzer und Gebet hin und her schwankt; dann drängt "Shoulder Of Giants" ins Blickfeld, ein unterschwelliges Geklapper, eine wehende Geige, schließlich ein schillernder Riff, der in der Dunkelheit zu leuchten und zu glühen scheint.

"Remind You" kombiniert seltsamen ECM-Jazz mit einem sentimentalen Liebeslied des 21. Jahrhunderts; "Sleeper Must Awaken" schürft im Bergwerk riesiger Synthesizer, mal im Takt, mal aus dem Takt ticken die minimalen Beats; "Traumfabrik" ist ungewöhnlich “lush”, die einzelnen Töne, geschmeidig und modelliert, zerfließen in einem glitzernden Abgrund. Das vorletzte Stück "While Waiting For Something To Care About" wird von traurigen, emotionalen Strings untermalt, während sich die Strukturen von "Romtech User Manual" im Licht drehen und immer wieder neu formieren. Die ganze Zeit über behält Kölsch die Tanzfläche im Auge, und man merkt ihm an, dass sie immer noch sein Zuhause ist: "Die Menge an Energie und Freude, die ich bei jedem Auftritt erlebe, hat eine tiefe Wirkung auf mich. Sie hat mich gerade in letzter Zeit stark inspiriert und ist zu einem integralen Bestandteil meiner Musik geworden.”

"Die Art und Weise, wie wir an jedem Wochenende gemeinsam unsere Hoffnung auf eine bessere Zukunft zum Ausdruck bringen, hat mir viel gegeben", so Kölsch abschließend. Die Vision des Clubs als eine temporäre autonome Zone, als ein Raum von großer Freiheit aber auch von politischen Ideen, das ist irgendwie alles hier drin, Now Here No Where. "Es ist vor allem ein Album über Hoffnung."

Shcuro is the alias of João Ervedosa a DJ, producer and graphic designer based in Lisbon. He also runs the record labels Sombra and Paraíso, makes music as Jose Acid and hosts a show on Rádio Quântica. His first contact with a DJ setup happened at age 15, and that’s when Shcuro decided to buy his own turntables and mixer; and started producing his own beats, too. He’s since released music on Basal, Circus Maximus, Obscuur Techno, Golden Mist Records and his most recent collaboration with Photonz for Future Déjà Vu.

‘Particle of Memory’ is a hypnotic 6-track EP that explores new territories in contemporary dance music. Sonically Shcuro paints his sounds blending moody techno with industrial noises alongside fast, apocalyptic electro and breakbeat. He is influenced by Portuguese rave culture that was born in the mid-90s at Lisbon clubs Alcântara-Mar and Kremlin and the country’s first electronic label Kaos Records. Shcuro continues to expand and morph this rich dance heritage to create something entirely different. The bouncy, lead track “Afterlife” features vocals and lyrics by London's ELLES followed by a Decadent Dub rework. All songs have been mastered by George Horn at Fantasy Studios. Housed in a die-cut jacket designed by Eloise Leigh reminiscent of ‘90s escape/sci-fi films with futuristic bright pink pop flourishes

LAs the first release on Phonica White back in 2009, 'Galaxy' by Japan's Iori is an expertly crafted piece of dancefloor-focused Techno, led by a rolling bassline and crisp hi-hats, with hypnotic melody patterns skittering off the surface. As we described it upon release, it's a trippy but accessible heads-down affair that has the depth and the bite to do damage at peak-time and in the after-hours alike. A decade later, those words still ring true and as it's now one of the most sought after records on Phonica White it's the perfect time to revive it - with a twist.

This time we have freshened up the record by swapping original B-side 'Urge' with a previously unreleased remix of 'Galaxy' from Lord Of The Isles, the producer behind two of Phonica's best received 12's on the main label, 'Year Of The City' & 'Greane / Gigha'. Countering the original's functional sonics, his remix takes the track in a deeper, widescreen direction, swirling the original's components around immersive pads and piano.

To keep collectors of the first pressing happy as well as to differentiate the two versions, the label artwork is the same Pedro Carvalho de Almeida design yet inverted and slightly tweaked to reflect the new tracklist and catalogue number.

Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased.

The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.

On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell.

All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

Julien Chaptal is an electronic assembly — part French electronics, part Detroit synth machine, and part Dutch minimal robot (as part of MFD, Le Clic and Amsterdam661). Purpose built with a modular brain, Julien’s performances are switched on, live, utterly groovy, and while pulsating with machine wiring, undeniably human.
Chaptal's newest record, The Way, was conceived after a few too many knobs were turned on his Octatrack, sending Julien tumbling through time and space to capture decades worth of dance floor musical influence before returning home. Recorded live along the journey — on stage, by boat, and in a camper van — The Way’s hypnotic tracks are an intimate look at the intricate circuitry composing the logic behind electronic music, showcasing where it has come, where it is now, and where it will travel to in the future.

Canadian composer Scott Morgan’s 12th long-player as loscil takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay.

It’s a deeply fitting analog for Morgan’s own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space.

The name Equivalents referred to Stieglitz’s notion of the photographs as being equivalent to his “philosophical or emotional states of mind;” the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapor.

The entirety of the record was created specifically for the album with the exception of “Equivalent 7,” which began as a dance score for frequent collaborator Vanessa Goodman.

The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid.Cloud photographs taken by Scott Morgan at various locations throughout Cascadia in 2018.

We are proud to showcase more Bay Area family with the release of a new EP by Doc Sleep who cut her chops as a DJ in San Francisco’s vibrant scene the past decade. In 2016 she made the move to Berlin and became a resident of Room 4 Resistance. Since 2013, she's been the co-owner of Jacktone Records, which specializes in techno, ambient, and experimental electronics. In 2016/2017 she released her first 12's on the Hot Mass-affiliated Detour Records and Bottom Forty. She also co-wrote a track with Bezier and Nicole Ginelli, titled “Stranger,” that we released on the ‘Primes’ EP in 2017. Her latest release, ‘Your Ruling Planet’, was released on Jacktone in March 2019.

We first heard “Creme Fraiche” on Doc’s soundcloud page and begged to release it. The track has the feel-good vibes you get on early morning dancefloors as things are winding down or up. Paired on the A-side is the pulsating dark jam “Never Eating Again” that previously appeared on ‘Run The Length Of Your Wildness V.2’ and, like that compilation, proceeds from this track will be donated to Ghost Ship Fire victim Cherushii's family. On the B-side are two remixes from close friends of Doc. First up is a fresh breakbeat remix from Violet: DJ, producer, boss of Naive records, co-founder of Rádio Quântica, and mina resident shaking up Lisbon's nightlife. Second is Berlin-based producer and fellow R4R resident, rRoxymore, who presents an innovative remix of future-facing techno and bass variations adding her own vocals on top. For this release we’ve teamed up with Jacktone to release a cassette version, our first in this format, featuring two peak-time bonus tracks. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy is housed in jacket designed by Eloise Leigh with neon pink and lavender gradients echo morning sunrises with a collage of dreamy elements using a photo by Doc of Club Toilet in Detroit.

tested 'Then After' EP by New York duo Wild Dark.
'...Stemming from a partnership with two decades of experience behind them, Wild Dark takes on contemporary song-writing and gives it a unique, thoughtful, modern-take using a wide spectrum of electronic music to tell a story. The duo, comprised of brothers Corey & Ryan Negrin, stray from cold digital samples in favour of a warmer approach to writing music. This allows them to merge house, techno and natural vocal work into a cohesive concept that uses soulful yet charming songwriting to nurture a sophisticated palate of contemporary work...'
Then After EP includes two tracks featuring Alex Who 'When we first met Alex there was chemistry off the bat. With inspiration of being young and free, the lyrics and vibe to "Why Not"came together with ease. As the production progressed, the darker tribal elements came to life.
We wanted this track to resonate with the free spirited. This track tends to be a favorite of night.
"Born By The River", A Happy Mistake. The vocals, the elements, the soul, all stemmed from animpromptu recording and this beauty was born. With a list of organic household recordings,accompanied by a warm low end, we aimed to create a track that defied all genres.
"Talky Talkie" is the most club oriented track of the EP, with a persistent groove and synth elements that work perfectly on the dancefloor.
"I'll Wait" brings our bohemian flavour to shine, a track that's comfortable being played anywherefrom Burning Man, lost in the desert to the deep warehouses of Brooklyn's underground.
The digital release will include a special remix by Superlounge, a German duo known for their smooth house vibes. This is a must have release, available first on the label's shop online;

t r u e C o l o r s
A Brooklyn / London based record label that channels artist's most honest version of their
creations and shares it with the world through vinyl and digital platforms.

For those unfamiliar with the Atipic releases, it may seem that Buenos Aires' Jorge Savoretti has chosen to swim upstream on the latest Atipic installment. As for a trained ear, the apparently bipolar approach, elegantly touching quite a few electronic influences from different decades, has a cohesive unity in all the 3 tracks presented.

Hidden under the sharp cut filters from the happy side A tune or building the groove to be unleashed in full swing on Side B, it is up to the dancefloor characters to find these elements.
Rather unconventional, yet totally subjective, Atipic004 is a proof of concept on how different angles can generate twisted and unexpected perspectives on modern electronic music.

West Africa's most iconic dance-band are back. A decade on from their last album and almost half a century since their formation, Senegal's Orchestra Baobab return with a timeless set of classic, swaying tunes fusing Afro-Cuban rhythms and African tradition in the group's trademark style.

When we started Ilian Tape 10 years ago in 2007, we were both basically kids at the ages of 23 (Dario) and 18 (Marco). There was no plan behind it, no concept, no promotion campaign or any budget, but just an early vision of where it could go. We wanted to build something that lasts. After a few years of playing at parties and producing music, it was the next logical step to start a label. You can clearly see us growing up through the label in terms of artwork, compiling the records and handling things. We made some mistakes along the way and there are surely things we could have done better, but looking back after 10 years now it all makes sense as it was a natural and human development with all its ups and downs.It was always a very personal project, never about making money, but about creating a platform for music we believe in and building relationships with artists in a transparent and fair way. We really appreciate that we were able to work with so many great artists, who shared the same vision and trusted in us, over all the years. A while ago we moved away from the ordinary release info write ups, because in general writing about music is tricky and who isn't tired of the typical, full of praise for every detail of a record, release textsBut this might be starting to get boring for you too, so just buy this lovely triple vinyl package including a poster and download code, light one up and turn up the volume!One last thing though - we want to deeply thank our parents for teaching us to live our dreams and find out who we really are, our friends for the vibes and honesty, all the artists releasing on the label, all the supporters & fans for buying vinyl and files, all the DJ's playing out the stuff, all the diggers selling the stuff overpriced on Discogs, all the dancers working out on the dancefloors & all the clubs doing label nights over all the years.

2x12" Vinyl + full cover artwork

One of the world's most in demand DJs and producers, Noir has been responsible for some of the most poignant - as well as explosive moments in clubland's recent history. Arguably best known for his huge dancefloor bomb 'Around', Noir now drops his debut studio album, a project that has been nearly half a decade in the making.'Around', a sexy, synthesizer-tinted groove featuring vocalist Hayze dominated dancefloors across the world for close to two years, making Noir a household name across clubland. And it's still as popular as ever - the Solomon Vox remix of 'Around' has amassed more than 12 million views on YouTube.

As well as 'Around', Noir includes further club hits 'Around feat. Hayze', 'My Fault feat. HRRSN' and current single 'Black feat. Caitlin', evidencing Noir's desire to work with a variety of vocalists to create something far 7 weightier than simply a collection of club tracks. Noir is about telling stories, boating 12 completely unique productions that chart the artist's evolution over the course of his expansive career. With many of its cuts moving away from the strict four-to-the-floor parameters of house music production, the horizons of Noir stretch way beyond the dancefloor. Taking cues from a range of artists from Depeche Mode to Kraftwerk, and Massive Attack to Timbaland - all of whom have heavily influenced Noir's aesthetic - Noir is an emotionally charged and

utterly engrossing body of work. Says Noir of working on the album: 'The album has been in the making since I started working on 'Around' back in 2010, so for me it's a body of work that spans nearly 5 years, with changes to productions, melodies and moods before I was happy with the final tracks. 'What you hear on the album is the culmination of all the music and influences I grew up and have lived with over the years: it is absolutely my identity and honestly represents my musical passions. Unlike many 'dance' albums that are little more than a collection of thrown-together club tracks, Noir combines tirelessly creative songwriting with multi-faceted production that reveals fresh delights with every listen: a timeless release from a truly singular artist.

In 2000, after almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD revived the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. Released as a 2 x CD compilation, Part 3 is a veritable smorgasbord of classic, new and unreleased labour-of love remixes that span three decades yet still transcend space and time.

Many influential artists have been involved with The Orb since the beginning, and the project keeps evolving and adapting. Dr. Alex Paterson, the gravitation centre of the Orb is known for his playfully subversive remixes and true to form this album highlights the diversity of his musical mind.

We see the good doctor remix the melancholy and evocative “The Last Lighthouse Keeper” from The Transit Kings, an early British electronic music group that included Jimmy Cauty of The KLF, one of the original members of The Orb. The remix of ‘Davy Jones’ Locker’ from System 7 takes you surfing on a sun-dappled sea of ambient dance nostalgia, while Killing Jokes’ ‘European Super State’ remix (in which LSD label founder Martin ‘Youth’ Glover plays bass guitar) sounds like the soundtrack for an imaginary spy thriller with the powerful lyrics and hypnotizing voice of Jaz Summers.
Legendary producer Youth teams up with Lx yet again on a psychedelic rocker with spellcasting vocals by Lara Smiles, and this is just the beginning! Boasting an all-star lineup, the compilation includes many of our scenes most esteemed electronic music producers such as Coldcut, David Harrow, Sendelica and Gaudi as well as the ambient blissed out vibes from the enigmatic DF Tram, Duende India Collective and The Gyuto Monks of Tibet, this collection offers up such the variety to appease even the most dedicated Orbsessives and music connoisseurs

Part celebration, part reflection, THE TIME OF OUR LIVES arrives as both the final release of Lancey’s twenties and the closing chapter of a creative world he has spent the last decade constructing. The most expansive statement of his career to date, moving freely between trap, alternative R&B, dance music, Afro-influenced rhythms and more, Lancey explores triumphant highs and lows of stark vulnerability across the album, interrogating ideas of success, freedom, loneliness and what it truly means to have the time of your life. Lancey Foux stands at the forefront of UK rap’s evolution, blending elements of hip-hop, cloud rap, trap, Jersey club, drill, and more into a sound that’s uniquely his own. Since emerging from Newham, East London in 2015 with a clutch of freestyles and SoundCloud singles, Lancey has occupied a lane entirely of his own making. As he closes out his twenties, Lancey looks ahead to the next decade full of more unpredictable artistry as he continues to break the rules and change the game.

Music On Vinyl celebrate their 100th 12" release by releasing a classic!

Greece 2000 is a classic international house tune by Dutch progressive trance duo Three Drives. It peaked at number 12 in the United Kingdom and number one on the UK Dance chart.

The original 1997 extended mix defined an era with its hypnotic melody, warm groove, and Balearic vibes.

Vintage Culture deliver a deep, melodic, and emotionally charged club weapon. The Max Styler rework elevates the original theme into a 2026 peak‑time banger. KREAM brings their signature big room future‑progressive sound. The Sebastian Davidson & Melosense remix is a warm, organic, and melodic downtempo mix.

This release celebrates nearly three decades of dance music history.

Brownswood Recordings presents Brownswood Remix Editions 010: SAMURAI Edits, a new 12-inch/digital release that reboots a much-loved classic from the early 2000s for a new generation of dancefloors.

At the centre of the release is “Samurai”, originally released on 12-inch in 2003 as the B-side to Jazztronik’s ‘Dance With Me’. More than two decades later, the track remains a cult favourite within the jazz, broken beat and dance music continuum, it’s a record that helped bridge the worlds of Japanese nu jazz and the bruk scene emerging from West London in the early noughties.

For collectors, the timing is particularly apt: the original 2003 12-inch has become increasingly sought after, with copies commanding significant prices on the secondary market. SAMURAI Edits offers a new way into a record that has long circulated among DJs and collectors, and a chance for a new generation to discover these incredible edits as well as the iconic originals.

Grammy-nominated German producer and DJ, Mousse T is set to headline the next installment of Defected's celebrated House Masters vinyl series with a sprawling three-LP retrospective of his remix career. Spanning six sides of wax, the collection pulls together two decades of dancefloor alchemy, tracing his signature style from disco- inflected house to breakbeat- tinged funk and back again. Including four brand new "Shizzle" and "Re-Rub" productions that are exclusive to this compilation and one remix that has previously never been released on vinyl before, makes this a particularly essential release, offering vinyl access to mixes that may otherwise circulate only in DJ pools or digital crates. House Masters Mousse T. features classic and fresh takes on the likes of Dennis Ferrer, Martin Solveig, Moloko, Camelphat, Spiller, Shakedown and many more, cementing Mousse's reputation as one of house music's most versatile and prolific talents.

Anyone who has had the sheer pleasure of seeing and hearing Leroy Burgess perform in concert will know just how amazing the live renditions of his iconic compositions of Disco Boogie hits and classics sound with a full band and a fully fueled audience. Accompanied by the ten piece French band and long time Leroy Burgess collaborative outfit Saving Coco, BBE Music is releasing live versions of two of those classics Let’s Do It and Big Time. Recorded and released by Rick James in 1980 Big Time is an absolute killer of a track that sounds so fresh decades later in this crowd energising performance. Famously released by Convertion Let’s Do It was a huge club hit in the early 1980s and is the perfect track to accompany Big Time on this release. Leroy Burgess is a certifiably genuine legend of Black music; his compositions have moved dancefloors across the world since the early 1970s as a member of Black Ivory, then Convertion, Paradise Garage favourites LOGG, Kleer and electro outfit Aleem. His collaborations with Patrick Adams, Inner Life, Dazzle and solo artists such as Eddie Kendricks, Rick James and Fonda Rae have cemented Leroy Burgess’ place in the annals of Black Music History. As a founder-member of the Universal Robot Band he co-wrote the massive perennial favourite Barely Breaking Even. Leroy Burgess feat. Saving Coco-Big Time/Let’s Do It is released as a 12″ vinyl and digital download and definitely belongs in the ‘make sure you get this’ category. Mixed by Marc Mac and mastered at the Grammy-nominated Carvery Studio by Frank Merritt. Available as 12″ vinyl and digital download. Release date September 25th, 2026

Acclaimed, Swedish composer, producer and live artist Sebastian Mullaert, and Georgian electronic artist Tamarma (Tamara Davitashvili), are set to release the deeply personal and genre-fluid album ‘Holds the Sky’ on the 25th September via Awesome Soundwave, the label curated by Christopher Coe and Carl Cox.

Spanning ambient, experimental and alternative electronic forms, alongside a set of dancefloor-oriented reworks that expand the project’s sonic spectrum, at its core, the album is the result of an unusual artistic convergence that traces back to 2020. Tamarma entered Mullaert’s successful In Bloom mentorship programme on a scholarship, and over a year-long deep exploration of album creation, her work revealed a rare clarity and emotional depth.

One piece in particular became the catalyst. Developed further through Mullaert’s 4 step studio process, it unfolded into a full length album collaboration. What began as a single composition has since grown into an album that documents an organic and intuitive exchange between two distinct artistic voices.

The result is less a collection of tracks than a continuous unfolding; a dialogue shaped by trust, listening and shared curiosity. Rather than aiming for a fixed genre position, the album operates as a living process: a meeting point between tradition and experimentation, between voice and synthesis, between two artists allowing something larger to emerge through their collaboration.

With compositions such as the chiming ‘Being Colours’ and hypnotic ‘Holds The Sky,’ Mullaert and Tamarma have created a body of work that resists easy categorization. The album moves through intimate, meditative passages and more rhythmically driven moments, always anchored in a sense of presence and emotional immediacy. The flickering beats of ‘Winnow’ and ambient manifestations of ‘Lost In Dimension’ and ‘Field of Us’ add a sense of tranquillity, stillness and convergence.

Tamarma’s voice carries both a personal and cultural depth throughout the album, while remaining fluid and responsive to the moment. The result is a sound that feels both intimate and spatial, where voice, texture and atmosphere are closely connected. Her Georgian musical heritage combined with Mullaert’s open-ended electronic exploration, allows something beautiful to emerge, shaped by listening, space and a sense of something larger than either artist alone.

Widely celebrated in the electronic music community, Mullaert has spent the last three decades moving beyond the boundaries of electronic music, from shaping the sound of cult duo Minilogue to creating the fully improvised global platform, Circle of Live, which has seen him perform and collaborate with artists such as Mathew Jonson, Âme, Amp Fiddler, Aurora Halal, Speedy J, Sam Barker, Dorisburg, Move D, Sleep D, Kuniyuki, Pantha du Prince, Leafar Legov, Wayne Snow, Laurence Guy, VRIL, Neel and Erika.

Initially making a name for himself in the world of techno, his performances have moved fluidly between environments, from underground spaces including Berghain’s Panorama Bar to festivals around the world, and venues including the Barbican, London, where he has appeared alongside artists including Joep Beving, Laura Misch and JakoJako. Platforms such as ARTE have featured his performances, placing his work within a broader European cultural context, while support from Resident Advisor and Boiler Room reflect his continued presence within the core of electronic music culture. He has received a Swedish Grammy and the P3 Guld award from Swedish National Radio.

His 2020 album ‘Natthall,’ developed in collaboration with Tonhalle Orchestra Zürich and performed with Subchamber Ensemble, saw Mullaert enter the world of contemporary composition, and merged electronics with chamber music and improvisation. The album was later named among the top post classical releases of the year by BBC Music Magazine.

A new documentary film by Ableton, set for release this summer, captures Mullaert’s Circle of Live project through a performance at Brighton Dome in the UK, featuring Mullaert and electronic artists Clark and Rival Consoles. The film offers a rare insight into the inner workings of collective improvisation at a high artistic level, further cementing Mullaert’s role as a leading voice in contemporary live electronic practice.

Tamara's background is rooted in the landscapes and traditions of Georgia. Raised near the Caucasus Mountains, classically trained in piano and shaped by years as a jazz vocalist, her work carries traces of Georgian polyphonic singing and a strong connection to nature and place. Her transition into electronic music is not stylistic but transformational; a recontextualisation of heritage into new sonic forms.

‘Holds The Sky’ will be available on vinyl and digitally on the 25th September via Awesome Soundwave. The digital release includes three exclusive album track reworks from Mullaert.

Following one of 2025’s standout EPs, the CEO of the National Centre for Mark Fell Studies fires from the hip in brilliant, club-troubling motion. In step with 30 years of prism-pushing work — and particularly the »Nite Closures« EP, which signalled a concerted return to the dancefloor — Fell pulls aspects of hypermodern dance and electronic music from Chicago, Tanzania, and Japan into his own peculiar agenda.

The hugely distinctive results pull the body into thrillingly unusual, typically ascetic arrangements, activating every pointillist drum hit with attack and decay in a soberly ludic play of rhythmelodic tension and release, executed to delirious ends; 40 minutes of computer music.

As an artist who witnessed first-hand the explosion of electronic music in early ’80s Sheffield, and its interplay with house and rave as it refracted into wild new styles during the ’90s, Mark Fell is uniquely positioned to pursue his passion for the dynamics of electronic dance music to the nth degree. »Servitude In Context« continues to develop ideas around music for movement in the mid-2020s, placing decades of keen observation — from the macro and historical to the niche and hypermodern — at the service of flexing bodies in new directions.

Long-held notions of multistability manifest in what feels like two machines playing chess on the dancefloor, attempting to adapt to each other’s playing styles and patterns in real time, anticipating and zigzagging around the next move. The result is a plethora of options for limber dancers and those who only bust a move inside their heads.

The slow-fast play of accelerating and decelerating strikes, alongside monotonic chatter in »Actuations #1 (Extended)«, acclimatises the body to a uniquely sensual physics. This develops into the rudely screwed, asymmetric angularity of »Time-Slur« and the shatterproof elasticity of »Taut Manifold«, which feels like an LLM trained on Autechre.

»Low Energy Mantra« offers the EP’s closest resemblance to melodic structure, like gamelan and footwork refracted through lab-grown diamonds. Then »Anode« flashes its teeth with a rudeness recalling the latter stages of Fell’s Pat Thomas jams, before »3 Lost Contours (Pts 1–5)« tilts into 12 minutes of proper quicksilver madness, balancing the sexiness of his Sensate Focus work with an updated, clean-hoofed step and parry.

Twenty-five years after his debut album I’m Serious permanently altered the DNA of Southern hip-hop, Tip "T.I." Harris is officially closing this chapter with KILL THE KING, his twelfth and final studio album. For a man who has spent over two decades as the self proclaimed “King," the project’s title speaks volumes. This is not a surrender of the crown to a rival, but rather a symbolic death of the ego. T.I. is choosing to dismantle the moniker on his own terms, trading the battlefield for peace, legacy, and the freedom to step out of the booth and into the next phase of his life as an actor and family man.

Rather than leaning on pure nostalgia, KILL THE KING proves T.I. is walking away while his pen is still razor-sharp. The project is anchored by the certified gold lead single "LET 'EM KNOW," produced by long-time collaborator Pharrell Williams, which sets an immediate tone of veteran-level precision and polished bravado. Across the 18-track album, T.I. pulls together a masterclass of multi-generational talent that bridges the gap between his trap origins and modern dominance. The album boasts heavy-hitting Southern anthems like "DOPE BOYS ACADEMY” featuring 2 Chainz, Jeezy, and T-Pain, alongside soulful reflections from the Dr. Dre produced track "WHERE I’M FROM" with Anderson .Paak, Atlanta eloquence with Usher on "GORGEOUS," and moody, atmospheric cuts featuring Summer Walker and YoungBoy Never Broke Again.

Ultimately, KILL THE KING is designed to leave nothing unsaid, directly addressing the trials, tribulations, triumphs, and the undeniable imprint he’s left on global hip-hop culture. To mark the end of this historic era, T.I. isn't just letting the music speak for itself; he will be taking his final bow on the road with The King Succession Tour, bringing his sons Domani and King along to officially pass the musical torch. With this final statement, T.I. ensures that the trap music foundation he helped lay the framework for what will endure long after he sets down the mic. The King is dead; long live the legacy.

New super-groovy one-off pressing purple double-vinyl very limited edition of Miami Sound 2 housed in gatefold sleeve, complete with two full-colour inner sleeves containing extensive text and exclusive photography from TK Records in-house photographer Larry Warmoth. Soul Jazz Records’ Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Throughout the 1970s founder Henry Stone’s TK Records rose up to be one of the most important forces in black music, successfully pioneering the evolution in musical fashions from the early gritty funk and soul at the start of the decade to the arrival of disco in the mid-70s. This album is a rollercoaster journey across soul, funk, disco and boogie, a party-rocking dancefloor-filling collection of monster tracks that includes million-selling hits such as Betty Wright’s classic ‘Clean Up Woman’, Timmy Thomas’s ‘Why Can’t We Live Together’, T-Connection’s ‘Do What You Wanna Do’, anthemic rare groove club hits including Gwen McCrae’s massive ‘All This Love I’m Giving’ and Milton Wright’s ‘Keep It Up’, plus a host of hard-to-find gems and rarities from the likes of Raw Soul Express, Chocolate Clay, Beginning of the End, Robert Moore, Clarence Reid, Little Beaver, Paulette Reeves and many more. TK Records functioned more like a close-knit family than a typical record company. Based in the industrial Hialeah district of Miami, music man Henry Stone surrounded himself with a host of creative artists, musicians, songwriters and producers who created an immediately identifiable TK sound as well as making musical stars out of many of its artists

Early DJ Support: Moxie, Grant Dell, and Saoirse

HUMAN is a vinyl-only electronic music label based in Manchester, focused on music, art, fashion, and culture. We press records we believe in with no shortcuts.

HUM001 is the label's debut release, featuring E-Funk / Twisty by Scarper.

Scarper is a London-based producer and DJ known for blending melodic electronica, broken rhythms and left-field club ideas into a sound that’s entirely his own. Over the past decade, a deep catalogue of albums, EPs and remixes has taken shape, alongside work in advertising, gaming, TV and short film.

‘E-Funk’ is a hybrid club weapon - part 2-step, part house, part breaks, all energy. A certified floor starter that lives in the bag and lands every time, especially when the room hits its stride.

‘Twisty’ is probably the most dancefloor-ready cut, but the solid broken grooves dancing around acid bass lines and bleeps on each of these nine thumping tracks could work any room at the right moment.

Every coastline develops its own rhythm. The Adriatic is no exception.

For decades, Italy’s eastern coast has been shaped by funk, Cosmic Disco, Balearic sounds, Italo Disco, House, Latin rhythms, Brazilian music and countless other influences. Rather than blending into a single style, these musical worlds have lived side by side, constantly inspiring new generations of DJs, musicians and dancers. For more than fifteen years, Soul Fingers and Funk Rimini have explored that landscape from different perspectives. Founded by Claudio Cavallaro in 2013, Soul Fingers grew into a vinyl-driven community where groove matters more than genre. Its philosophy has always been simple: if the groove is right, genres stop mattering. Brothers Ricky and Francesco Cardelli developed Funk Rimini into a project rooted in funk, disco, live performance and electronic production. Anima Adriatica is where these two journeys meet.

The project didn’t begin with the ambition of making an album. It began behind the turntables. As DJs, Claudio Cavallaro and Ricky Cardelli found themselves constantly searching for records capable of connecting distant musical worlds inside their sets; from Afrobeat into disco, from hip hop into Latin, from Brazilian grooves into boogie, from cosmic electronics into deep funk. Sometimes those records existed. More often, they didn’t. So they stopped searching and started writing them. Not records designed to belong to one genre, but records designed to travel between genres. That space between musical worlds became Anima Adriatica.

The music grew through spontaneous jam sessions with Ricky and Francesco Cardelli, drummer Enrico Mao Bocchini and, gradually, a wider circle of musicians, singers and longtime friends, making Anima Adriatica less a traditional band than the beginning of an open collective. Recorded at SynthPosio Studio, founded by Ricky and Francesco Cardelli inside Rimini’s iconic skyscraper, the project also carries a symbolic connection to the building itself, where many Italo Disco classics (including records by Betty Miranda, The Creatures and many others) were recorded decades earlier.

Betty Miranda returns not as a nostalgic guest, but as a bridge between generations. On the title track she performs a spoken-word text written by Claudio Cavallaro, reflecting on the invisible thread connecting the Adriatic dancefloor across time. From Baia degli Angeli to Cocoricò, from the legendary clubs of Riccione to today’s independent communities gathered around projects such as Soul Fingers and Funk Rimini, the places have changed, but the dancefloor continues to tell the same story. Much like Pier Vittorio Tondelli’s Rimini captured the Adriatic through literature, Anima Adriatica imagines its soundtrack.

Brazilian musician Daniel Plentz (Selton) expands that vision on Açúcar and Alegria, bringing another coastline into the story. Across its four tracks, the EP moves naturally between analogue funk, boogie, Brazilian music, underground disco, cosmic textures and the wider Black musical tradition, with All Down The Line paying tribute to the Paradise Garage era.

Released by Bordello A Parigi, the project found its natural home through a shared love of adventurous dance music, records and club culture. More than the title of an EP, Anima Adriatica marks the beginning of an open collective; a meeting point where musicians, DJs, producers and friends continue building bridges between genres, generations and communities.

Because Anima Adriatica doesn’t live inside a genre. It lives between genres. If soul music has always reflected the places where it was born, Anima Adriatica is simply our own Adriatic Soul.

The Lp is ble marble be released on the 25th September Part celebration, part reflection, THE TIME OF OUR LIVES arrives as both the final release of Lancey’s twenties and the closing chapter of a creative world he has spent the last decade constructing. The most expansive statement of his career to date, moving freely between trap, alternative R&B, dance music, Afro-influenced rhythms and more, Lancey explores triumphant highs and lows of stark vulnerability across the album, interrogating ideas of success, freedom, loneliness and what it truly means to have the time of your life. Lancey Foux stands at the forefront of UK rap’s evolution, blending elements of hip-hop, cloud rap, trap, Jersey club, drill, and more into a sound that’s uniquely his own.

Since emerging from Newham, East London in 2015 with a clutch of freestyles and SoundCloud singles, Lancey has occupied a lane entirely of his own making. As he closes out his twenties, Lancey looks ahead to the next decade full of more unpredictable artistry as he continues to break the rules and change the game.

Die Legenden der elektronischen Musik, Soft Cell, bestehend aus Sänger & Frontmann Marc Almond und Multiinstrumentalist & Produzent Dave Ball, veröffentlichen mit "Danceteria" ihr sechstes und letztes Studioalbum - zugleich ein Liebesbrief an das New York der frühen 80er Jahre, wo Soft Cell ihre ersten drei Alben aufnahmen. "Danceteria" ist ein großartiger, stilvoller und verspielter Abschied von 47 Jahren gemeinsamer Musikgeschichte von Marc & Dave als Soft Cell und präsentiert Darbietungen, die für die Karriere dieser Electro-Pop-Legenden prägend sind. Mit Anklängen an Sparks und die Pet Shop Boys sowie Texten, für die Lady Gaga töten würde, nimmt das Album den Hörer mit auf eine lebendige Reise durch einen Tag im New York der frühen 80er Jahre – eine Reise, die rund um die Uhr von der Nacht über den verschwommenen Tagesanbruch bis zum direkten Wiedereintritt in den Club führt.

"Danceteria" ist gleichermaßen eine Hommage an den verstorbenen, großartigen Dave Ball. Dieses letzte Album gehört zu den letzten Werken, an denen Ball als Co-Autor und Produzent mitwirkte, bevor er am 22. Oktober 2025 auf tragische Weise viel zu früh verstarb. Marc Almond führte die Reihe der Nachrufe an und bezeichnete Dave als "geniales musikalisches Genie". Die weltweiten Medien und Musikstars wie Neil Tennant & Chris Lowe (Pet Shop Boys), Daniel Miller (Mute Records), Cabaret Voltaire sowie Richard Norris aus Daves Techno-Duo The Grid würdigten ihn voller Anerkennung und Wehmut als Pionier der elektronischen Musik. Dave stellte "Danceteria" zwei Tage vor seinem Tod fertig, und ganz in seinem Sinne wurde die Veröffentlichung des Albums wie geplant durchgeführt. Auch aufgrund von Daves Tod muss "Danceteria" zwangsläufig das letzte Soft Cell-Album sein, wie Marc erklärt: "Ohne Dave kann es keine weiteren Aufnahmen von Soft Cell geben; das wäre schlichtweg unmöglich. Die traurige Realität ist, dass Dave Ball die eine Hälfte von Soft Cell war, und abgesehen von Live-Auftritten kann ich ohne ihn keine Soft-Cell-Songs schreiben."

It pairs Virelles - who is known for his all-encompassing approach to creativity that is deeply-rooted in the Cuban influences of his upbringing - with two towering figures of creative music, whose individual work have helped shape the evolution of modern jazz for more than six decades. Together, they create music that is spacious, lyrical, and uncompromisingly inventive, grounded in profound listening and collective imagination. The group evolved out of Trio 3 , which featured saxophonist Oliver Lake alongside Cyrille and Workman. Following Lake's retirement, the remaining members invited David Virelles to help continue the group's legacy. Recorded at the legendary Van Gelder Studio , the album captures three master improvisers in an intimate, deeply expressive dialogue that unfolds through shared intuition, revealing an ensemble whose interplay is marked by subtlety, trust, and fearless exploration.

Feelin’ Love returns to Soulfuric Deep with a fresh remix package built around one of house music’s most recognisable vocal anthems, bringing new energy to a timeless dancefloor favourite.

Originally released by Soulsearcher, the track has remained a staple across house and disco sets for decades, celebrated for its uplifting vocal, infectious groove and enduring crossover appeal.

This new edition pairs the original Soulsearcher Club Mix with a selection of contemporary reinterpretations, including brand-new remixes from RUZE & Chesster and Dr Packer, alongside the Ian Carey Main Mix, offering a versatile package for both modern and classic house DJs.

Blending soulful vocals, groove-led rhythms and contemporary production touches, the release bridges generations of house music while retaining the feel-good energy that made the original such a lasting success.

Back on fresh 12" vinyl, Feelin’ Love continues to resonate with both long-time collectors and a new wave of DJs, making it a strong addition to any house-focused record selection.

A highly recognisable and DJ-friendly release for stores supporting house, deep house and soulful dancefloor sounds.

In the ever-evolving landscape of the underground music scene, few bands have made an impact quite like Selofan, an immensely talented duo of Joanna Pavlidou and Dimitris Pavlidis, has carved a niche for themselves within the international pantheon of darkwave, post-punk, and '80s synthpop, blending these influences to create a sound uniquely their own. Their journey, marked by a commitment to artistic integrity and evolution, has taken them from the cozy confines of local venues to the grand stages of international festivals, earning them a dedicated following and critical acclaim along the way. Their sixth album, Partners in Hell, released in October 2020, navigated the band through unprecedented times, testing their adaptability and resilience. Despite the hurdles to performing live and the global pandemic's challenges, Selofan emerged stronger, embarking on international tours with a newfound appreciation and connection with their global audience, during this period of introspection and isolation, Joanna Pavlidou embarked on a new venture, GIOVANNA, released under Selofan’s house label, Fabrika Records. GIOVANNA, which places Pavlidou at the helm of vocal and lyrical composition, represents a full on foray into synth-pop. showcasing a different facet of her artistic identity, with lyrics entirely in Greek. In 2023, Selofan hit the circuit hard, lighting up revered festivals with their presence. They stood shoulder to shoulder with heavy hitters like Molchat Doma and Lebanon Hanover at Grey Scale and performed with with the likes of The Sisters of Mercy, VNV Nation, and She Past Away at the Death Disco fest in their hometown of Athens. With each album they have released Selofan made significant strides in their evolution, deepening their engagement with their art. And their forthcoming seventh full length studio release, Animal Mentality, is poised to be their most compelling work yet. Animal Mentality unfolds as a labyrinthine journey through the elemental aspects of human emotion and experience, set against the backdrop of Selofan's signature darkwave sound. Each track on the album delves into different facets of the human condition, from the depths of desire to the pangs of isolation, encapsulating the duo's profound understanding of the intricate spectrum of human emotion and subjective experiences. The album kicks off with "Sticky Fingers," a track that melds cinematic scope with a haunting storyline, reminiscent of Jean-Michel Jarre's icy synths and a lyrical nod to Joy Division. This opening salvo revisits the tragic allure of classic car accident songs, weaving a tale of joy turned to sorrow amidst the snowy Alps. "Love's Secret Game" delves into the depths of forbidden desire, with vocals that echo the melancholy timbre of Xmal Deutschland, Lebanon Hanover, and Nico. It's a tale of passion and ephemeral connection, promising an enduring presence despite the inevitable fracture of time and distance. In "Lucille," sung by Dimitris Pavlidis, the plot is ensnared in the machinations of a tempestuous affair, with gothic undertones evoking the dramatic soundscapes of Ultravox and Clan of Xymox. The lyrics are steeped in danger and desire - a dance with the shadows. "Sacrifice Me" plunges into the abyss of despair, driven by a Bauhaus-esque bassline. It's a plea for release from the chains of alienation, a yearning for a final gesture of solace in the face of overwhelming darkness. "Bluebirds" offers a poignant reflection on solitude, with the fleeting imagery of bluebirds symbolizing the elusive quest for happiness. The song serves as a meditation on the internal struggle to maintain hope in a world shaded by sorrow. The narrative shifts with "Glassplitter," where German lyrics paint a portrait of deceptive allure and toxic entanglement. We are confronted with irresistible danger, masked by a veneer of beauty. "Ignoranz" continues the exploration in German, pondering the universality of misunderstanding. It's a reflection on the subjective nature of truth and the shared human experience of ignorance. "Behind My Eyelids" closes the odyssey, a contemplation on melancholy and metamorphosis. The phoenix rises from the ashes of betrayal to the brighter realm of renewal - a beautiful homage to the resilience of the human spirit amidst the often harrowing cycles of life. More than just an album, Animal Mentality is a milestone in Selofan's career, marking a decade of musical innovation and growth. It's a testament to their enduring spirit and a bold step into new realms of artistic expression. As Selofan continues to evolve, they remain at the forefront of their genre, pushing boundaries and exploring the depths of the human psyche through their haunting melodies and poignant lyrics.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

Two of the most prolific remixers in the world of Disco,Dave 'Love' Lee and John Moraleshave teamed up for one of their biggest projects to date - 'Mixed To The Maxxx'. After gaining access from the legendary original artists, the pair take the multi-track tapes of many classic Disco, Funk & Soul tracks and re-work them...to the Maxxx!

Where Remixed With Love stands as Dave Lee's own gold-standard body of work, Mixed To The Maxxx sets that legacy alongside Morales' own decades-deep M+M body of work: Lee brings his musically dense, groove-first touch to the likes of Harold Melvin, Syreeta, Lenny Williams and The Brand New Heavies, while Morales applies his extended, dancefloor-built M+M treatment and crushes the likes of Barry White, The Temptations and Loleatta Holloway, plus Dennis Coffey's breakbeat classic "Scorpio" for the DJs and collectors alike. Both work from original tapes, surfacing parts barely audible or entirely unheard in the source mixes, and both know when to let a classic breathe rather than bury it under modern production. It's a pairing a long time in the making. Lee and Morales first talked about working together around a decade ago, and getting Mixed To The Maxxx off the ground took five years of patient work: tracking down usable stems, securing approvals, and navigating a licensing landscape where much of the best material is now tied up with major labels increasingly cautious about clearing remixes. What's landed here is the product of that graft as much as the pair's shared ear for a great record, the sound of two people who know exactly what they're looking for and are willing to put in the time to find it.

A double 12" sampler in summer 2025 previewed the record's range. A bass-driven overhaul ofThe Brothers Johnson's "The Real Thing" and an extended mix of Philly legends Bell & James' "Livin' It Up (Friday Night)" showcased Lee's side, while an anthemic take on Inner Life's "Ain't No Mountain High Enough" and a tempo-lifted Light Of The World"London Town" flew the flag for Morales. Both drew strong early support ahead of the full LP.

The third release on Uprising pairs a sax-driven rockabilly thumper with one of the coolest dance craze records of the mid-60s. ‘Red Hot Car’ was Bobby Verne’s only recording and came out on the tiny Californian Doc Holiday label in 1962. Judging by the current price and collector demand for an original copy only a small quantity were pressed. This is a powerhouse of a tune that has been filling dancefloors across the globe for some time now.
As for the flip, in 1965, Buddy Wayne added self-penned lyrics to Gary Paxton’s rendition of the James Bond theme. Released on the Big Ben label – that only put out four records − it sat unwanted for decades. Then the rockabilly scene picked up on it in a big way when they discovered that it was the perfect stroller. This was closely followed by the northern soul and mod scenes. Today, it is at last crossing over to a more mainstream audience.

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

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

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