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The Sha La Das are Bill Schalda and his talented sons Paul, Will and Carmine, originating from Staten Island, NY.
Your Picture, the Sha La Das’ second album and the first release on producer Tom Brenneck's own label, Diamond West Records, is yet another singular testament to the stirring power of blood harmony and a celebration of the enduring love story between Bill and the family matriarch, Linda.
Traces of old memories flicker through Your Picture. Bill’s classic songwriting and lush vocal arrangements get whirled into new territory, updating doo-wop with the bottom-heavy groove and swirling pop of Brenneck’s lean, spacious production. “We brought in some psychedelic sounds and drew inspiration from deep soul records to the Beatles and Beach Boys alike,” Brenneck says.
Love radiates throughout Your Picture, flowing out from the shimmering melodies Bill and his sons produce. Bill Schalda and sons are living their musical dream—Your Picture is the proof.

Swan Song

The vinyl LP at the heart of this éthiopiques 31 tracks 2 to 11 was one of the very last vinyl records ever released in Ethiopia. But above all it represents, we felt, the absolute masterpiece of the Ethiopian Groove – the Swan Song of Swinging Addis. The album leaves a clear idea for posterity of the level of sophistication and mastery that modern Ethiopian music had achieved, before being crushed under the Stalino-military heel of the Derg – as the bloody revolution that was unfolding came to be called.

Ethiopia1976.

The Revolution that broke out in February 1974 rolled on in a ruthless march. The whole of Ethiopian society was utterly stunned. The bouquets of flowers handed joyfully to the first tanks of the coup d'état were to wilt very rapidly. From September 1976 to February 1978, 18 months of Red Terror (the name given by the junta itself) spilled blood throughout the country. This fratricidal conflict took its heaviest toll among students and youth. The shift from feudalism to a cruel and primitive Stalinism left the country's citizens deeply traumatised, and snuffed out any pretence of activism, whatever the sector of society. This ice age was to last for seventeen long years.

ሙሉቀን፡መለሰ Mulukèn Mellèssè Muluqän Mälläsä

It was three tracks by Muluken that served as the opener for éthiopiques-1 more than 25 years ago. Seven more tracks appeared on éthiopiques-3 and 13, all accompanied by The Equators, which was soon to become the Dahlak Band.

The first track, Hédètch alu, also the very first piece that Muluken ever recorded, left audiences both unsettled and amazed. Reflecting the singer's extremely young age (he was just 17 at the time), this angelic voice mystified many, who thought they were in fact listening to a feminine voice. He was not yet 22 when he released his last vinyl record in 1976 with Kaifa Records (KF 39LP), one of the very last to be issued in Ethiopia, before the cassette tape became the dominant medium for music distribution – and before the new revolutionary regime put a stop to all independent musical life, via an unspeakable barrage of prohibitions and other persecutions.

Mulu qèn, literally, “A well filled day”. This tender maternal intention wasn't enough to ward off the cruelty of fate. His mother's premature death drove Muluken to leave his native Godjam, in northeast Ethiopia, to live with an uncle in Addis Ababa. Born Muluken Tamer, he took his uncle's last name – Mèllèssè.

The spelling Muluken appeared in his administrative records. Transcription of Amharic to the Latin alphabet, both in Ethiopia and for scholars, gives rise to controversies and quibbles that can never be neatly settled. French allows for a closer approximation of the original pronunciation, thanks to its battery of accent marks, confusing as they may be to anglophones.

Between rather accommodating administrative record-keepers and the various versions that pop up in interviews given by the artist, Muluken's year of birth oscillates between 1953 and 1955…

1954? One thing is certain: the artist's talent made itself known very early indeed, because he got his start in 1966-67, at the age of 13 or 14. Photos from the period attest to his extreme youth. It's a strange sort of initiation for a very young teenager to become a sensation in the heart of Addis's nightlife at the time, Woubé Bèrèha – the Wilds of Woubé. And what's more, in the club of the Queen of the Night, the Godjamé Assègèdètch Alamrèw herself, the very same that was portrayed by Sebhat Guèbrè-Egziabhér in his novel-memoir Les Nuits d’Addis Abeba2… The legendary female club owner who is remembered to this day by the capital's ageing boomers.

Muluken first tried his hand at the drums, before he grabbed the microphone. He emigrated briefly to the Zula Club, across the street from the old Addis Post Office, one of the ground-breaking bars of the burgeoning musical scene, before joining the Second Police Band in 1968, for around three years. He spent a few months with the short-lived Blue Nile Band founded by saxophonist Besrat Tammènè. As the musical scene grew increasingly successful, and pulled slowly but decisively away from its institutional ties, Muluken released his first 45rpm single in February 1972 (Amha Records AE 440). It was included in two LP Ethiopian Hit Parade compilation albums in September of the same year. All in all, Muluken released eight two-track 45s and the same number of original cassette tapes between February 1972 and 1984, the year that he departed for permanent exile in the USA. After converting to Pentecostalism in 1980, Muluken gradually abandoned all secular musical activity. In 1985, at the end of a concert in Philadelphia, he decided to quit concerts and recording for good. Mèlakè Gèbré, the historic bass player from the Walias band who was playing with him that night, recalls that everything appeared so irredeemably diabolical in Muluken's eyes, that it was to be the end of his contribution to Ethiopian Groove.

The end of the story, the beginning of a legend.

Dahlak Band, forgotten by History

Aside from his personal history and vocal talents, it must be remembered that Muluken Mèllèssè was one of the biggest names in the musical innovations that marked the end of the imperial period. These éthiopiques aim to convince those who are just discovering this hidden gem... As for Ethiopians themselves, they are to this day captivated by this singular and atypical figure in the Abyssinian pop landscape – even though he withdrew from public life some 40 years ago. Incorrigible devotees of poetic twists, of more or less hidden meanings, Ethiopians appreciate above all the care Muluken took in choosing his lyrics and the writers who penned them, such as Feqerte Haylou, Alemtsehay Wodajo and, here, Shewalul Mengistu (1944-1977). Love songs, written by women, a far cry from the conventional drivel that pleases sappy sentimentalists.

Muluken is equally acclaimed for his perfectionism when it came to music, the opposite of the overly casual approach that is all too common. He remained a faithful partner of musicians who came from a lineage that borrowed from several inventive and pioneering bands (Venus, Equators, Dahlak). Amongst them were certain artists who began their musical lives with Nersès Nalbandian at the Haile Sellassie Theatre and who come of age in around 1973 – at just the wrong time, you might say. Among them were the pillars Shimèlis Bèyènè (trumpet), Dawit Yifru (keyboards) and Tilayé Gèbrè (sax & flute). Most notably Tilayé Gèbrè, certainly one of the most important musicians, composers and arrangers of his generation, of the end of the imperial era, and of the early years of the Derg.

It was only in 1981 that a miraculous opportunity arose for Tilayé to escape the Stalinist paradise of the dictator Menguistou Haylè-Maryam. Once again it was Amha Eshèté (1946-2021) who provided a solution. The spirited and courageous producer, who had been in exile in Washington since 1975, succeeded, thanks to his incredible perseverence, in bringing the Walias Band to the USA. It was, in fact an extended Walias Band comprising ten musicians3, six of whom chose to slip away after a few concerts and the recording of an LP (The Best of Walias, WRS 100). Tilayé Gèbrè was one of these. He has been living in the USA ever since. There he joined the then-nascent Ethiopian diaspora, which lived largely unto itself, and was making only very modest headway in the American musical market. It seems unfair that Tilayé Gèbrè and the Dahlak Band were not able to benefit earlier from the public recognition that they do deserve.

A similar draining away of the top-rate talents would lead to the reorganization of the major groups of the “Derg Time”. The remaining artists spread themselves around between Ibex Band (renamed Roha Band), Ethio Star Band and a remodeled Walias Band. That spelled the end of the Dahlak Band.

With this record, produced by the essential Ali Abdella Kaifa a.k.a. Ali Tango, we can appreciate everything that the Derg not only destroyed, but also prevented from flourishing. This gem of Ethiopian-style afrobeat came out in 1976 (and, by way of a parenthesis, before the FESTAC 1977 in Lagos, which was attended by an impressive delegation of Ethiopian musicians — although Fela was already personna non grata in his own country). Despite everything that might distinguish this ethio-groove from Fela’s music – no colonial axe to grind, no question of political confrontation with the authorities, no claims to negritude or Africanism for the Ethiopian musicians, and less extrovertion! –, this LP fits beautifully into the saga of intense and electrified soul of the new “African” groove that Fela and Manu Dibango embodied so well from that point onwards.

In restoring this record to its place in the afrobeat epic, it can be seen that, if nothing else, the timeline bestows a legitimate pedigree and a historical primacy to works that had no international impact when they were originally released.

Warning! Masterpiece!

Vinyl reissue of the most acclaimed album by Brazil's legendary female vocal quartet, this LP captures the group at their creative peak, featuring sophisticated arrangements by Edu Lobo and Luiz Eça (Tamba Trio), A post-bossa gem filled with stunning vocal harmonies. Originally released in 1972 on the Odeon label, Quarteto Em Cy stands as a high-water mark in the group's prolific discography-and a hidden gem for collectors of Brazilian vinyl. Known for their intricate vocal harmonies and deep roots in the bossa nova movement, the quartet ventures into post-bossa territory here, where sophistication meets groove in all the right ways. Arrangements by Edu Lobo and Luiz Eça (of Tamba Trio) lend the album a richly layered sound-elegant, jazzy, and emotionally resonant-while the group's harmonies remain as mesmerizing as ever. It's a masterclass in vocal interplay and tasteful orchestration, with an unmistakable Brazilian soul running through every track. Highlights include their stunning interpretation of Milton Nascimento's 'Tudo Que Você Podia Ser,' along with deep cuts like 'Quando o Carnaval Chegar,' 'Canto de Obá,' and 'Cantoria.' These recordings capture a moment when the group, already respected collaborators of Vinícius de Moraes, Jobim, and Chico Buarque, hit a new creative stride. A MPB landmark and long out of print, often cited as QEC finest work, this self-titled LP has become a sought-after piece among collectors of MPB, bossa, and 70s harmony pop. For those drawn to groups like The Free Design or The Mamas & The Papas-but with a distinctly Brazilian elegance-this album offers a rare and rewarding listen. Reissue on 180g vinyl.

For the first time on vinyl! Sly and the Family Stone – Who in the Funk Do You Think You Are: The Warner Recordings brings together Sly Stone’s groundbreaking albums from 1979 and 1982 for Warner. This collection includes rare demos and material previously only available on the limited Rhino Handmade CD release. Sly and the Family Stone took the Sixties ideal of unity and turned it into deeply groove-driven music.

2025 Repress

Chris Stussy makes his long-awaited FUSE debut as he drops the heavily-requested ‘Midtown Playground’, with Huerta joining on remix duties.

It’s rare for an artist to command such intrigue and interest across every single release they line up. Yet, the captivating global gaze around Chris Stussy seems to be snowballing with every unreleased production teased in his ever-impressing sets. Now undeniably one of the scene’s most in-demand names, the humble and hardworking Dutchman has been letting the music do the talking over recent years, with his Up The Stuss project welcoming a new musical focus and providing a platform for him to grow and evolve into an artist at the very top of his game. Not letting up, the surging DJ/producer and label boss now adds another label debut to his catalogue as Enzo Siragusa invites him to his iconic FUSE imprint for the very first time, bringing the release of one of his most requested tracks to date, ‘Midtown Playground’ - with LA-born, Berlin-based DJ, producer and Leisure boss Huerta also making his first appearance on the remix.

From the instantly recognisable synths and lead melody to the skipping percussion and rumbling core bassline, ‘Midtown Playground’ perfectly showcases the sound that Stussy is quickly making his own. The same can be said for ‘From The Delicate Mist Of Morning’, a more subtle but hypnotic offering, while ‘Blueprint’, another unreleased stand-out, offers that commanding yet playful groove he’s become so known and loved for. Delivering his flip of ‘From The Delicate Mist Of Morning’, Huerta dives into a deep, colourful and breezy journey through cosmic spheres, while digital purchasers can enjoy a bonus cut in ‘Mythical Power’ - a warping, jacking and menacing effort built for bustling late hours dancefloors.

The capstone of Miles Davis’ electric period, Agharta reigns as a funk-rock fireball — a blazing comet streaked energy and elan, a fearless organism feasting on adventure and freedom, a seven-headed Godzilla stomping its way through Osaka, Japan. Recorded on February 1, 1975 at Osaka Festival Hall at the first of a two-show stand, the double album offers an endless abundance of surprises and shifts — as well as a road-proven ensemble whose chemistry and abilities equal that of any of Davis’ celebrated bands. If the true measure of jazz is the capacity to adapt to the moment and challenge perception, Agharta is consummate.

Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set of this epic live release presents it in audiophile sound on a domestic pressing for the first time. Offering greater degrees of separation, detail, and richness than the compressed CD editions and more clarity, openness, and presence than older vinyl copies, this version of the 1975 release helps bring the concert stage to your home. Just make sure your turntable and speakers are up to the challenge of Davis and Co.’s explosive performances — and producing the decibels they demand.

Teeming with vibrant colors, tones, and pace, Mobile Fidelity’s reissue captures the hear-it-to-believe-it flow, sweep, and moodiness of the music. Though the group honors looseness and freedom with religious verve, the specificity and scale rendered by this remaster allows you to detect methods behind the alleged madness that are often otherwise harder to discern. This insight extends to the understated changes in volume, harmonics, and phrasings. In many ways, you can listen as Davis himself did that early February evening as he helped coordinate the overall direction and decided on whether to blow his wah-wah-wired trumpet or take a turn on the organ.

Tellingly, Agharta would likely never have been made if not for Davis’ ventures overseas and, specifically, to the Land of the Rising Sun. Having for years faced a backlash on his native soil for his choices to experiment and blow past all known borders, Davis was welcomed with open arms in Japan. The concert documented on Agharta — as well as the day’s later show, captured on the equally exciting Pangea — stemmed from a sold-out three-week tour that would ultimately mark Davis’ final public appearances for years, as he soon settled into semi-retirement and nursed the wounds connected to an unprecedented stretch of restless and relentless output.

For all the band-fueled merit of Agharta — and there’s plenty, given the cast of saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, and guitarists Reggie Lucas and Pete Cosey seemingly blasts off to outer space and travels distant galaxies by the time this minimally edited record runs its course — Davis’ own playing often remains overlooked. As critics Richard Cook and Brian Morton observed, it is “often fantastically subtle, creating surges and ebbs in a harmonically static line, allowing him to build huge melismatic variations on a single note.” He attacks like a man on a mission, out to prove naysayers wrong and bent on trailblazing another new path forward. Convention and skeptics be damned.

Noisy and furious, dark and discordant, abstract and off-balance, radical and intense, abrasive and atmospheric, strangely beautiful and hypnotically eccentric: Agharta evades simple description, and refuses to be pinned down in any established category — rock, jazz, punk, ambient, prog, avante-garde, or otherwise. Shot through with trench-deep grooves, screaming riffs, scalding solos, and free-improv leads, its cosmic thrust comes on as the equivalent of an animated pointillist painting comprised of millions of textured dots, dashes, and dabs that hold your attention so raptly you want to revisit the ideas again and again.

Always steps ahead of everyone else, Davis knew what he was doing even when Agharta debuted in Japan before later hitting U.S. markets. Though “Maiysha” and “Theme from Jack Johnson” are identified in the track listing, the record contains a number of uncredited references to other Davis works, including a nod to “So What.” This decision to bypass labels only adds to the art of the reveal — the rare black magic in which Agharta expertly deals.

After finding fame with the Hollies and Crosby, Stills, Nash & Young, expatriate Englishman turned West Coast rock icon Graham Nash made an auspicious solo debut on this 1971 disc. It's an exemplary singer-songwriter effort, striking a vital balance between graceful introspection and political fervor — and while it's deeply personal, it still carries the harmonies, heart and politics that made CSN(Y) so essential.

With assistance from the likes of David Crosby, Jerry Garcia, and Dave Mason, highlights include the sensitive internal explorations "I Used to Be a King" and "Man in the Mirror" and the impassioned protest anthems "Chicago" and "Military Madness."

If Déjà Vu was a wild canyon party with four competing egos, Songs for Beginners is Nash's introspective morning after — a mix of heartbreak, hope, and a little bit of righteous protest. He recorded it while reeling from his split with Joni Mitchell, and you can feel that melancholy seeping through the grooves.

But don't mistake this for a wallowing breakup album — it's also a call to action, packed with the kind of folk-rock anthems that made Nash an indispensable voice of his era. If you love CSN's folk-rock harmonies but also crave a more personal, raw touch, this is a must-listen.

This Analogue Productions (Atlantic Series) reissue of Pain in My Heart is a standout for your collection. First, we turned to Bernie Grundman to cut lacquers from the original master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Brixton Heights Records proudly presents the brand new single ‘Am I the Same Man?’, a soulful roots-reggae gem featuring a heavyweight all-star lineup including: Mafia & Fluxy on drum and bass respectively, the Ital Horns on brass, Gussie Clarke on mastering and Gaudi on falsetto vocals + BVs, dub mixing, piano and co-production alongside The Brixton Heights Orchestra.

Drawing inspiration from the timeless instrumental groove ‘Soulful Strut’ by Young-Holt Unlimited, the track channels vintage soul through a deep lovers-rock lens. A fresh and earnest reinterpretation of Barbara Acklin’s 1968 classic ‘Am I the Same Girl?’, this version flips the narrative with an adaptation on the lyrics voiced by none other than Gaudi singing in falsetto, resulting with a smooth, dub-infused love song that combines classic soul and international reggae into a modern masterpiece.
Gaudi is not stranger to falsetto-singing and backing vocals, in fact he has lent his distinctive vocal talent to albums by reggae giants such as Steel Pulse, Horace Andy, Lee “Scratch” Perry, Don Letts, Johnny Clarke, Mad Professor, Hollie Cook, Michael Rose, Creation Rebel, Africa Unite, Awa Fall, African Head Charge, Lion D & Capleton.

Mixed and co-produced by Gaudi at his Metatron Studio in London UK and mastered by Gussie Clarke at Anchor Studios in Kingston Jamaica, ‘Am I the Same Man?’ is more than a cover version, it’s a heartfelt transformation that captures the emotional core of the original song while creating a whole new vibe that speaks to today’s lovers and soul seekers alike.

The B-side presents a meticulously crafted dub version by Gaudi, produced exclusively with analogue equipment and vintage studio hardware. The mix brings forward the intricacies of the original instrumentation and enhances the lyrical elements through spacious delays and warm, analogue textures. Last but not least, in order to maintain the highest level of authenticity and an organic sonic texture, all recordings were done at 432Hz, tuned to resonate naturally.

A true double-sider of soulful excellence, Mr. Soul (aka Al Scott) delivers pure magic on Genuine Records with “You’re Too Good” and “What Happened to Yesterday.” On “You’re Too Good,” Scott’s smooth, honeyed vocals glide over a mid-tempo groove, blending elements of sweet soul and crossover with effortless style. The lush instrumentation, crisp rhythm section, and irresistible melody make this a standout for DJs looking to work deeper cuts into a set or collectors seeking that perfect soulful gem for their box.

Flip it over and you’re treated to “What Happened to Yesterday,” a deeply emotive ballad rich with longing and heartache. Scott’s vocal performance is drenched in feeling, perfectly supported by subtle strings and understated arrangements that let the song’s emotional weight shine through. Released on the much-loved Genuine Records imprint, this rare 45 has long been a favourite among serious soul heads, with both sides offering something special—whether for the dance floor or reflective late-night listening. A must-have for any serious soul collector.

Italian producer Matteo Veroni returns with Vibez, the second 12″ on Much More Music, a label devoted to timeless house grooves with soul, warmth, and a touch of Mediterranean light. Vibez captures the essence of classic house: deep basslines, crisp percussion, and melodies that glow with emotion. Veroni crafts each mix as a different moment in the day, radiant, fluid, and irresistibly groovy. It’s the sound of open-air dancefloors, rooftop sunsets, and late-night laughter that never quite fades.
A beautifully balanced 12″ that embodies what house music does best, move the body and lift the spirit.

Follow up to last years 12" on Voyage Direct from this active Amsterdam DJ/Producer. TIP!
.
" Back in December 2014, Elias Mazian debuted on Voyage Direct with a 12' that perfectly encapsulated his open-minded but interconnected approach to electronic music. He'd already showcased this ability to blend sounds and styles by becoming one of the most talked-about DJs on the Amsterdam scene. With Future Times' (and its superb flipside, They Don't Know'), Mazian gave notice of his undeniable production credentials.

Fast forward to the summer of 2017, and Mazian is ready to drop an EP that not only confirms his status as a rising star of Dutch dance music, but also showcases a newfound ability to combine a finely-tuned sense of what works on the dancefloor with the kind of compositional skills that can take a lifetime to perfect.

The Duplicate EP is an altogether more mature proposition than his debut 12', but retains many of the sounds and influences that marked out his first appearance on Voyage Direct - not least his love of spacey electronics, mood-enhancing chord progressions and sparkling synthesizer motifs.

This can be heard in particular on the title track, an ear-catching club jam that wraps chiming melodies, Mazian's own rapped vocal refrains and electro-era synths around a gently jacking, Chicago style house groove. It's deep, poignant and attractive, with subtle nods to the dreamy Windy City deep house of Larry Heard, the retro-futurist boogie business of Moon B and Dam Funk, and the kaleidoscopic electronic funk of Parliament.

Further proof of Mazian's increased musical maturity can be heard in the breathtaking Dream Mix' of Duplicate'. Featuring a yearning, almost melancholic vocal from the producer himself, the remix offers an analogue style deep house interpretation bristling with cascading melody lines, classic Chicago house bass and bubbly, deep space electronics.

The EP closes with superb bonus cut Ride That Shit Baby', an expansive chunk of mind-altering analogue deep house full of restless ride cymbals, crunchy drum machine hits, starburst electronics, delay-laden organ lines and swirling chord progressions. It's as intricately programmed and produced as anything Mazian has released to date, and twice as emotion-rich. In some ways, it's the perfect end to an EP in which Mazian brilliantly showcases the depth and breadth of his emerging talent."

For heads who like it dark, detailed, and dialed-in. Stephan Hinz steps up on Odd Even with a deep and driving techno cut that hits straight where it counts. Four tracks soaked in tension, groove, and atmosphere — no filler, just pure dancefloor intent.
Andre Kronert brings the heat on the remix, turning Everything Is Illuminated into a stripped-down, rolling beast.

Deey, a native of Futenma, Okinawa, is one of the most popular artists today, known for his collaboration with Leo Iwamura on "Deep Blue," and EVO, who has
made a name for himself with The Anthem, hosted by IMUHA BLACK, and is attracting attention. This LP features a remarkable album by three artists at the forefront
of Japan's underground hip-hop scene, all produced by MrRn, whose popularity is rapidly rising in the Kansai region.

"Working with these three artists, I was able to bring out the best in myself and express my passion for swaying, nodding, and communicating. "Sunshin" in particular
is a song I want everyone to listen to and feel for its vibe and message!" -- Deey

"The album title, 'Amon', literally means 'Gate of Asia.' When we listen to music, we're usually drawn to the sound and groove first, so we created a record that
will resonate worldwide, regardless of the current domestic scene. I'm not really into forming and organizing a crew, so I'd like to continue working with friends
who share Amon's concept, not just in music, but in other areas as well." -- EVO

"When you hear it, it'll hit you like lightning. Creating it with my friends, supporting each other, learning from each other, I've managed to express myself more

authentically than any other production I've ever done." – MrRn

This holiday season, Harlem’s Capo, Jim Jones, brings At the Church Steps to vinyl for the very first time — and it’s more than just a reissue. A founding member of The Diplomats, platinum-selling artist, and a pioneer of NYC street rap, Jones has long been a voice of the hustle, style, and raw authenticity that define East Coast hip-hop. With over 2 million records sold and a deep-rooted influence on music and culture, At the Church Steps is now set to become a collector’s essential — reimagined for vinyl in a way no fan has ever experienced.

This limited-edition, audiophile-grade 2LP set is crafted for true connoisseurs. Pressed on premium Neotech 100% virgin vinyl, the release uses exclusive mastering technology that employs predictive analysis to correct groove deformation — delivering unmatched clarity, fidelity, and warmth. Every detail, from the sonic depth to the physical finish, speaks to the cult following Jones commands. Tailored for both the streets and the crates, this vinyl is a tribute to legacy and craftsmanship. Store it upright, keep it out of direct sunlight — and know you’re holding a piece of hip-hop history made to last.

Key Marketing Highlights:
Available on vinyl for the first time as a limited numbered 2LP set on Audiophile-Grade, COllector's Quality Vinyl
Brand new studio album from Jim Jones now available on 2LP
Jim Jones is a member of legendary hiphop group The Diplomats

Spandau20 delivers its eleventh various artists release, a sonically rich and future-facing blend of broken grooves, spatial moods and modern Detroit romanticism. Four tracks, four new angles on the dancefloor. ANNA Z sets the tone with 'Kabeljau', an eclectic, IDM-flirting workout. On the opening track, elastic rhythms stretch and snap while ethereal pads drift overhead, punctured by sudden turns and glitchy surprises. Moody, weird and beautifully unpredictable. Dajusch continues with 'Fallout', diving into shimmering Detroit-inspired chords and pristine production. Clean yet full of soul, its dreamy propulsion moves with effortless optimism. It's a track that lifts heads and hearts without ever losing its club focus. Flip the record and FJAAK welcome you into a breakbeat-infused haze. 'Your Time' pairs groovy percussion and airy atmospheres with those unmistakable powerhouse vocal chops, a warehouse anthem with a gentle cosmic touch, driving yet deeply emotional. Closing the EP, Claus accelerates the pulse. 'Moist Logic' is a faster, more urgent exploration of the techno continuum. Machine funk encoded into a forward-thrusting groove, a sleek atmosphere swirling around a sharp, kinetic core. With SPANDAU20 011, the West-Berlin collective celebrates a hybrid future that is rhythmically adventurous, melodically rich and rooted in the love for the dancefloor. This record combines Berlin grit with dream-state techno, balancing rough energy and refined emotion across four cuts that leave their mark on the floor.

Astropolis Records — the label born from the legendary electronic French festival — celebrates a decade of electronic devotion with a generous and deeply emotional anniversary compilation - a bit late, but never short on flair.

This double vinyl gathers the many faces of the Astropolis galaxy: in-house artists, long-time companions of the festival, and rising voices from a perpetually vibrant French scene. Across 18 artists, listeners are invited on a sonic journey where rave legacy, electronic dreamscapes, and collective fervor intertwine — true to the DNA of a festival that’s never known boundaries.



The record opens with grace and wonder courtesy of Rone, whose electronic touch channels both the intimate and the infinite. Between electronica and downtempo, The Dolphin Ambassador bathes in luminous melancholy, offering a moment of calm before the storm. In the same contemplative vein, we’re proud to unveil one of the first productions from Célélé alongside Théo Muller: Drum and Drift, a subtle blend of dubby vibrations and sunlit textures.


Astropolis has always thrived on happy collisions — and this compilation is proof of it. The unlikely meeting between Mézigue and Swooh sends house spiraling into a g-tech vortex on Broken Roll To Venice, a playful burst of groove, hybrid energy, and cheeky mischief. The same spirit of alchemy fuels Belaria & Madben, whose Into The Void burns bright as a 90s rave-meets-EBM anthem wrapped in hypnotic trance. Zaatar & Trunkline bring raw intensity to Come Into The Light, a sweaty, visceral banger at the crossroads of techno, dark disco, and EBM.


French techno pillars Scan X & Electric Rescue deliver a masterclass in elegant machine soul on Lost In Time. When Manu Le Malin teams up with Kmyle, the result is as sharp as it is cinematic: Little Big Man pulses with dramatic tension, balancing raw emotion and restrained fury. Elsewhere, Oniris & Benjamin Rippert reconnect with the melodic techno spirit of the label’s early days on Sonate, guided by a craftsman’s sense of harmony.
For the machine lovers, Legowelt & Cuften resurrect the spirit of early electroclash on Liar, a carnal fusion of analog synths and DIY attitude. And for the diehard dancefloor devotees, KiNK finally releases a cult track from his live sets: Give Me, a breakbeat-meets-vintage-house stormer tailor-made for those late-night sweats.

This anniversary compilation reaffirms the label’s openness to new generations and hybrid sounds, while paying tribute to the techno roots that shaped its foundation. Like the festival itself, it embodies sincerity and collective energy — a small manifesto linking generations, aesthetics, and territories, celebrating roots without nostalgia and the future without bending to trends.

The new Endell Street release is another essential excavation from the deep, rare archives of London’s early 00’s tech house movement.

On the A side, the elusive T.V. Babies project finally sees the light of day, a hidden gem from some of the era’s most respected spinners, delivering that unmistakable after hours groove that defined the generation. Flip it over for the heavyweight Peace Division’s legendary remix of Smart Alex, a track that turned heads on the release and still carries the same raw, driving energy today.

A deep, funky and timeless slice of UK tech house, crafted for the heads and anyone tuned into the true Endell Street vibe.

The cultured Seasons Limited imprint is back with more gold from French house mainstay Franck Roger, who continues his recent run of more vocal-leaning sounds. His 'One Of Mine' EP opens with the title cut and the main man himself on the mic. He delivers spoken words in a smoky, sultry tone over a deep, cuddly groove that harks back to 90s classics. 'Pacific Ave' is another icy and sparse sound with dubby low ends and pensive pads lingering in the air above. 'Versalife' shuts down with a gorgeous baseline and more trippy melodic energy that brings some colour and charm to another cool groove.

Following the acclaimed reissue of Sa Discossa earlier this year, Jo Tongo's third solo album Those Flowers returns to the spotlight.

Originally released just a year and a half after Sa Discossa, this 1982 gem came out on the small Context label and, in Tongo's own words, the two records are "like twins." Recorded with many of the same musicians, Those Flowers continues the vibrant fusion of disco-funk and reggae - this time dedicating one side to each, leaning slightly more into his Western influences.

But there's more than groove beneath the surface. Tracks like "People Need Peace" and "We Human Beings" channel his enduring themes of resistance, identity, and freedom. The synthesizer at the beginning of the song mimics the ominous drone of warplanes, and lyrics speak directly to global struggles - reminders that his music is both deeply personal and powerfully political. "I paid for these ideals in my career," Tongo reflects, alluding to the personal costs of his outspoken stance against colonialism and injustice.

Still, Those Flowers carries joy at its heart. Songs like "Ain't No Man Like A Real Friend" celebrate trust and loyalty, while the title track offers a tender ode to love and kindness - "picking flowers from the soul," as Tongo puts it. These songs reveal the inner world of a man who has always viewed music as a mirror of life.

This reissue marks the second installment in the African Edge series from The Outer Edge label. Fully restored and remastered, Those Flowers is now set to bloom again - another vital chapter in the legacy of Jo Tongo.

To celebrate two decades of passion, innovation, and dedication to underground music, Playbeatz Labels Network proudly launches "Tribe", a new compilation project that pays tribute to the artists and sounds that have shaped its journey.
For over 20 years, Playbeatz has been a platform for creative freedom and genre-crossing experimentation—championing independent voices and uncovering unique talents from across the electronic music spectrum. "Tribe Vol. 1" is the first chapter in a special series of releases that reflect the label family’s diversity and forward-thinking spirit.
Kicking off with a limited edition vinyl, Vol. 1 features four carefully curated tracks by long-time Playbeatz affiliates —each bringing their unique sonic identity, from house to melodic textures, tech tools to soulful grooves.

A1. Erly Tepshi – Dreamer Emotionally charged and atmospheric, a deep dive into the melodic house realm, “Dreamer” wraps a haunting male vocal around lush synth lines and hypnotic rhythms.

A2. DJ Simi & Antonio Grassia – Nuestro Fuego With its driving groove and minimal yet powerful arrangement “Nuestro Fuego” is crafted as a peak-time tech and house tool. The track is all about raw energy and club efficiency.

B1. Mind The Gap DJs – Eclipse Of The Soul This old-school house jam delivers uplifting piano riffs, classic drum programming, and a timeless sense of groove. A heartfelt homage to the golden era of house, reimagined for today’s floors.

B2. Giomini & Marcus Raute – Tape Sweat A fresh and summery house cut with shimmering grooves and playful percussion. The track recalls the clean, infectious style of Deetron, blending crisp drums with melodic finesse. A pure dancefloor delight for the warmer seasons.

2025 Repress

DJ Support: Kerri Chandler, Chris Stussy, Archie Hamilton, Fabe, Groovesh, Vlad Caia, Andrey P Ush Krav, Thor, Masimillano Pagliara, Dubtil, Reboot, East End Dubs, IULY.B, Josh Wink

Chris Stussy ‘A Glimmer Of Hope’ EP in now being re-issued due to demand on LTD edition transparent red vinyl.

Amsterdam based producer and DJ Chris Stussy has become one of the most eminent figures in the contemporary house scene of the Netherlands and across the globe over the past 10 years, racking up releases on the likes of Eastenderz, Moscow, PIV, Contstant Sound and most recently his own Up The Stuss imprint.

Leading the release is ‘Central Frenzy’, laid out across six and a half minutes with skippy percussion, a snaking bass groove, intricate synth sequences and sweeping vocal chants. ‘Riva De Biasio’ follows and tips the focus over to airy atmospherics a jazz-tinged bass groove and squelchy acid licks atop swinging drums.

‘Deviant Shadow’ opens the flip-side and merges an amalgamation of expansive dub chords and bouncy sub bass tones with a robust 4/4 rhythm. Lastly to round things out is title-cut ‘A Glimmer Of Hope’, wrapping up the release on a deeper tip courtesy of ethereal pad swells, metallic synth licks and shuffled drums.

Italian duo Marsupials returns on Cut My Records with a two-track EP that blends the sophistication of deep house with the pulsating energy of afrodisco roots.

On side A, “Kaurna” opens with an elegant homage to the Detroit scene of the early 2000s: an intense and enveloping track, built on deep live bass, velvety strings, warm keys, and a groove that builds hypnotically until it completely captivates the listener.

“Sokoni”, meanwhile, takes the dance outdoors: a sunny and percussive track, animated by choruses recorded live at a Tanzanian market, intertwined with a driving and syncopated guitar enriched by played parts of bass and rhodes riffs. An explosion of rhythm and vitality that effortlessly blends tradition and club culture.

A very limited vinyl release (edition of 200 hand stamped and numbered copies) that speaks to the body and soul, designed for the dance floor but crafted from heart and with an increasingly mature and recognizable sensibility.

Un Own is a freshly minted label founded by, we're told, familiar-but-unfamiliar figures and designed as a home for DJ- and collector-friendly edits and remixes. The debut release comes from seasoned remixer and beatmaker Shimmy Sonic. These jams have already been tested on discerning dancefloors and 'Coolage' kicks off with elastic, low slung grooves that draw from classic soul and hip-hop sensibilities. The vocal is a real doozy that soars high. On the flip, 'Our Time' gets deep into downtempo bliss with psyched out guitars rising out of the mix to set the tone for Un Own's mission of putting out respectful reworks built for selectors and serious listeners alike.

Shogun Audio is extremely proud to present GLXY's second album, 'Form, Focus'. Unequivocally the most refined body of work to date from the ever-evolving drum & bass duo, this LP showcases GLXY at their irresistible best.
A decade on from the release of their debut single 'Small Talk/Trinity', GLXY have cemented themselves as one of liquid drum and bass’ most respected and prolific acts. With twelve EPs, a debut album in 2020, and collaborations with the likes of Alix Perez, Halogenix, Lenzman, Unglued, and Catching Cairo under their belt, 'Form, Focus' represents the next definitive milestone in an already heavyweight catalogue.
From beginning to end, the record distils everything that makes GLXY so special. Abundant with luscious sound design, soulful vocal features, and an unmistakable sense of groove and musicality. Featuring Charli Brix, DRS, Duskee, Eljé, Jords, Salo, and Verbz, the tracks flow seamlessly between deep, introspective liquid cuts and vibrant, club-ready rollers, painting a full picture of their artistry while pushing their sound into fresh, exciting spaces.
More than just a continuation, 'Form, Focus' feels like a statement: a decade of honing their craft distilled into a singular vision. It’s an album that reaffirms GLXY’s position at the cutting edge of the genre, while at the same time carving out their own unmistakable lane within it.

Biz brings the heat to Subjekt for a second time here with another textured EP of acid-laced techno. Various different moods and tempos are explored, with 'No Way Back' tapping into the original Chicago jack vibes of the track with the same name with prickly 303s and bristling percussion. 'No Turning Back' is deeper and more roomy with eerie distant bells and molten acid lines, 'Feel The Flow' brings some widescreen synth landscapes that are rather serene but for the menacing acid which gurgles in the foreground and 'Charlotte' cuts loose on a more fluid and uplifting slice of deft groove magic. 'Way Too Hard' closes with a mix of punchy drums and reflective chords that encourage your mind to wander.

Claude VonStroke makes long-awaited Crosstown Rebels debut with ‘Noche Clara’, featuring Honeycomb. A full-circle moment between two house music icons finally comes to fruition, with the two-tracker out on 5th December 2025.

Two decades after label founder Damian Lazarus first booked him to play in the UK, American electronic icon Claude VonStroke finally lands on Crosstown Rebels with ‘Noche Clara’ - a release that bridges friendship, history, and the enduring spirit of the global underground. Built around hazy tones, captivating synth melodies, and sweeping atmospherics, ‘Noche Clara’ captures the playful minimalism and late-night atmosphere that defi ned his early work. On the flip, ‘Bam Bam’ layers warped vocals over a trippy off kilter sonics and a tunnelling, hypnotic groove, providing a haunting and commanding deep dive into the late-night hours. A collaboration with beatboxer, producer, DJ, and instrumentalist Honeycomb, who recently toured with The Floozies and Dirtwire, the link-up came naturally following a joint appearance between the pair at California’s infamous Zenyara, plus multiple Dirtybird festival appearances and more.

A true maverick of modern dance music, Claude VonStroke has spent over two decades shaping the sound and culture of house. From founding the iconic Dirtybird label, home to artists like Fisher, Eats Everything, and Catz ‘n Dogz, to headlining the world’s most respected clubs and festivals, his legacy is built on connection, humour, and an unfiltered love of the dancefloor. Now exploring more underground and experimental sounds, VonStroke is entering a new creative chapter ahead of his forthcoming artist album in early 2026 - a shift perfectly exemplified by this impressive debut on Crosstown.

Barcelona-based label Raru Cultural Movement continues its mission of curating forward-thinking underground sounds with its fourth vinyl release, Mad Riz, by Ukrainian producer Silat Beksi. Known for his refined minimalism and deep rhythmic sense, Beksi delivers an EP that moves between precision and warmth, layered grooves, subtle textures, and hypnotic energy that unfold naturally across each track.
Rooted in Raru’s philosophy of craftsmanship and cultural connection, Mad Riz reflects both the label’s dedication to high-quality vinyl culture and Beksi’s unique approach to sound design. A pure expression of the contemporary underground — timeless, detailed, and built for lasting resonance.

- Limited edition Cool Grey 2x12” vinyl LP.
- Housed in PMS printed inner sleeve, featuring custom fonts by No Format and spot gloss abstraction of the original album artwork.
- Accompanied with a double sided 2-panel insert and double sided 4 panel poster.
- All sleeved in a custom PMS reverse board outer sleeve with die cut square centre panel and belly band.

Will heralded a disarming, groove-based return to deep house. A wild melange of bumping beats, freestyle samples and esoteric goodness. Recorded over the same period as Grinning Cat this anomaly within the Skintone catalogue was seen as a way to circumvent the swirling politics of his club-oriented releases elsewhere. In itself Will was a reminder of Yokota’s ability to deliver a complex array of sounds within a more recognisable format.

We Are The Robots Vol. 01 – Hypnotica Colectiva 25

Hypnotica Colectiva drops a fresh wax cut: We Are The Robots Vol. 01 — a heavyweight double vinyl release that channels the raw energy of the crew’s legendary club nights and distills 15 years of sonic exploration across electro, broken beats, and IDM textures.

Marking catalogue number HCR025, the Valencia-based imprint doubles down on its underground ethos, curating a ten-track lineup from artists deeply connected to the collective’s orbit. Each contributor brings a distinct flavor of robotic sound design.

Every track has been handpicked for its club impact, conceptual depth, and ability to resonate with the aesthetic of We Are The Robots — a party series that’s been pushing uncompromising electro since 2010. Expect a full-spectrum journey: from cerebral synth workouts to gritty analog pressure, industrial atmospheres, shadowy breaks, and raw minimalism.

Artwork come courtesy of Dani Requeni, keeping the HC Records design language sharp and functional. Steve Voidloss handles mastering duties, ensuring each groove hits with precision.

Mastered by Voidloss at Black Monolith Studio, London.
Artwork, Label art & Designs by Dani Requeni.
All rights reserved.
HC RECORDS
València, 2025.

South Street International return with the house goodness once again, reissuing Vick Lavender’s house anthem “The L.O.V.E. Song (From Chicago To New York)”. Originally self-released on his label Sophisticado Recordings by the Chicago producer and musician, this is one of those timeless deep house gems that’s become an underrated weapon for discerning DJs worldwide.

Lavender – known for his work with Glenn Underground as part of the legendary Strictly Jaz Unit – has been shaping deep and soulful house for over three decades, blending world music, jazz fusion, R&B and more into a sound that’s both spiritual and deeply rooted in the dancefloor. Here he brings the best of both cities into one track: the soulful musicality of Chicago, the cosmopolitan polish of New York. Warm Rhodes, fluid percussion, and vocal refrains ride over a groove that’s equally at home in a dark basement session or a sunrise terrace set.

With originals changing hands for eye-watering prices on Discogs, this official reissue makes this must have record accessible again. Lovingly remastered by The Bakehouse and presented on South Street International, This record is a must-have for fans of deep house, and anyone who believes in the eternal conversation between Chicago and New York.

Itako's new release on Sonic Groove signifies a creative evolution, stepping away from his electro-techno inspirations such as those on Maceo Plex's Lone Romantic Imprint. This fresh offering delivers a blend of deep, mental, and acidic techno that fits seamlessly into the many genres of today's techno sound, a perfect synergy that connects at home, in transit or on a dancefloor.

The Sha La Das sind Bill Schalda und seine talentierten Söhne Paul, Will und Carmine, die aus Staten Island, New York, stammen. "Your Picture", das zweite Album der Sha La Das und ihre erste Veröffentlichung auf dem Label Diamond West Records des Produzenten Tom Brenneck (Charles Bradley, Menahan Street Band, Lady Wray), ist ein weiteres einzigartiges Zeugnis der mitreißenden Kraft der Harmonie zwischen Blutsverwandten und eine Hommage an die dauerhafte Liebesgeschichte zwischen Bill und der Matriarchin der Familie, Linda. Spuren alter Erinnerungen flimmern durch "Your Picture". Bills klassisches Songwriting und üppige Gesangsarrangements werden in neues Territorium katapultiert und aktualisieren den Doo-Wop mit dem basslastigen Groove und dem wirbelnden Pop von Brennecks schlanker, räumlicher Produktion. "Wir haben einige psychedelische Klänge eingebracht und uns von Deep-Soul-Platten bis hin zu den Beatles und den Beach Boys inspirieren lassen", sagt Brenneck. Liebe strahlt aus "Your Picture" heraus und fließt aus den schimmernden Melodien, die Bill und seine Söhne produzieren, während sie ihren musikalischen Traum leben.

A meeting of worlds. A new kind of resonance. GODTET's upcoming release captures the alchemy of their landmark performance with the Sydney Symphony Orchestra at the Sydney Opera House.

At once bold and nuanced, this album explores the friction between improvisation and orchestration. Where the orchestra is anchored in fully composed material, GODTET remains free – navigating the work's harmonic architecture with instinct and spontaneity. Structures are fixed, but expression is fluid.

Orchestrated and brought vividly to life by Novak Manojlovic, GODTET's long-time collaborator and musical polymath, the work bridges the worlds of bedroom production and classical tradition. His arrangements offer not just translation but transformation. Amplifying the ensemble's rhythmic language through the rich sonic canvas of the Sydney Symphony Orchestra.

The result is a deeply textural suite that amplifies the best of both disciplines: GODTET's idiosyncratic groove and live sampling artistry converging with the symphonic weight and colour of the Sydney Symphony Orchestra.

Under the baton of Nicolas Buc,GODTET + The Sydney Symphony Orchestradoesn't just blend genres, it dissolves hierarchies. It's a declaration that music born in warehouses and bedrooms can belong in concert halls, and that authenticity transcends format. This is GODTET in full bloom, expansive, fearless, and profoundly moving.



a 01: New Sun (Live) feat. The Sydney Symphony Orchestra & Novak Manojlovic
b 02: Stepper (Live) feat. The Sydney Symphony Orchestra & Novak Manojlovic
[c] 03: The Fall Line (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[d] 04: Dub Angels (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[e] 05: Cantus (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[f] 06: Bliss Angels (Live) [feat. The Sydney Symphony Orchestra & Novak Manojlovic]
[feat. The Sydney Symphony Orchestra & Novak Manojlovic]

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythm-obsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro-Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity. Recorded over 2017-19 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo.

Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14 bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play. ‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy. Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves
and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace.

Lettuce serves up a full-course groove experience with Cook, a 16-track feast of classic funk, rich instrumentation, and deep- pocket rhythm. The album features 12 full-length tracks, including two vocal cuts, with a standout cover of Keni Burke’s “Rising to the Top” leading the charge at radio. More than just a record, Cook is a multisensory experience: the vinyl includes a recipe book of original dishes crafted by the band, each paired with a song and one of their two new wines launched alongside the album. From front to back, Cook is Lettuce at their most flavorful—soulful, funky, and made to be savored.

Grammy-winner, Boz Scaggs, known for his silky voice and genre-blending style, takes a refined turn with a jazz-influenced record that showcases his deep appreciation for classic grooves and sophisticated arrangements Blending smoky vocals with laid-back rhythms, the album nods to the cool jazz clubs of the past while keeping Scaggs' signature soul intact. It's a smooth, mature work comprised of Boz's interpretation of classic standards as well as one new original track.

Brian Kage turns up the heat with a full-strength solo outing of deep, dub-heavy grooves. "Dubz on 12" marks the twelfth release on his Michigander imprint, serving four heavyweight techno/house cuts engineered for the most discerning dance floors. Legendary producer Funk D’Void (Soma, Outpost) delivers an interstellar reimagining of Kage’s Learn to Surrender, pushing it into hypnotic, cosmic territory. Complementing the remix, Kage drops three signature dub-driven weapons—Reels for the Wheels, Oberdub, and the title track Dubz on 12. Versatile, heady, and floor-ready, this EP is a must-have for deep listeners and DJs alike—dope, durable, and guaranteed to move.

With Collective, the Barcelona- and London-based imprint Rhythm Cult once again proves why it stands among the most respected underground platforms in European electronic music. Founded by Paul Loraine, the label has built a reputation for bridging deep musicality, minimal precision, and timeless dancefloor function´, always with an ear for detail and emotional resonance. The first installment of the Collective series gathers a remarkable lineup of producers Jim Rivers, Satoshi Fumi, DCLVIII OFC, Mark Jackus, and Michael Wardemann, each contributing to a shared aesthetic that defines the Rhythm Cult sound: sophisticated, groove-driven, and deeply human. Subtle textures, rolling basslines, and understated movement shape a release that feels equally suited for intimate clubs and open-minded floors. Collective embodies the label’s dedication to quality, authenticity, and artistry, a modern classic in the making from one of the scene’s most consistent and forward-thinking imprints.

After a brief hiatus, Lay Down The Groove is thrilled to be back with its 10th release, an EP that captures the essence and evolving spirit of the label.

Transcend EP marks the debut production of Palazzo, an Argentinian DJ and now Melbourne-based artist. This five-track release is the result of a deeply personal creative process, reflecting his transition from DJing to music production. Inspired by a broad spectrum of influences, the EP weaves together elements of House, Balearic, Tribal, and Latin rhythms, a rich and textured showcase of Palazzo’s unique musical vision.

To round off the release, the EP includes a deep and spacious Dub version of the track “Turquoise”, reimagined by label heads Lay Down The Groove, adding their own signature touch to the project.

The Mighty Ryeders' rare groove classic Help Us Spread the Message has been remastered and reissued here because it forever remains a favourite with DJs and dancers. It's a timeless soul and funk blend with many a standout jams, not least 'Evil Vibrations,' a super cool and breezy groove famously sampled by De La Soul in 'A Roller Skating Jam Named Saturdays' and later covered by The Rebirth. Alongside funk staples like the aching beauty of 'Help Us Spread The Message' and the collector-favourite 'Let There Be Peace' the album blends rich horns, clavinet and deep grooves with great songwriting and vocal harmonies. Do not sleep on this masterpiece of funk.