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DJ Support: Dennis Quin, Benny Rodrigues, De la Swing, Archie Hamilton, Jamie Jones, Rich Nxt, Roger Sanchez, Ilario Alicante, Jon Cutler, Adriatique

Fabio Santos is a DJ and producer from Rotterdam whose sound is firmly connected to the underground. With inspiration from labels such as Dungeon Meat and Slapfunk Records, his music and sets combine raw rhythms, rolling basslines and a stripped-back energy that reflects the essence of the scene. Fabio approaches DJing with a focus on flow and atmosphere, building tension and release in a way that keeps crowds engaged from start to finish. His style is direct, uncompromising and always aimed at serving the dancefloor.

After a series of successful outings alongside sidekicks Ofofo and Zongamin, studio wizard MYTRON turns in his debut solo full-length for Multi Culti World Records. With contributions on Invisible Inc, Calypso, Bongo Joe, Kalahari Oyster Cult, LYO, Codek Records and Earthly Measures, Mytron has carved out a name for himself in a carefully-curated left-field quadrant of the indie-dance galaxy. Tuning his oscillators to myriad sounds — from dub and disco to krautrock — the London-based producer perhaps most notably channels the pristine compositional style of Kraftwerk. While most apparent in the use of vocoder, there’s a consistent efficiency of arrangement that recalls the man-machine in effervescent, idealistic fashion. Mytron manages to keep it simple, funky and musical — whimsical tunes that bop along with analog grit, wilderness, and wonk. There’s a warmth and wit that shine through every synth line, an understated confidence that speaks of years spent tangled in wires and waveforms, with an inclusive sonic eclecticism that flattens hierarchies between genres, geographies, and generations. Each influence is invited to the table, treated not as pastiche but invited to dine and dance in a space where kosmische dub disco and Afro rhythms can coexist without borders. The sleeve design echoes this philosophy: video-feedback patterns hinting at our modern screens, both portals and filters — coloured, distorted intermediaries through which we perceive the world. In the trippiest sense, the record is both reflection and refraction — a sonic mirror held up to an interconnected, glitchy reality. Tailored equally for DJ use and home-listening head trip, the album is meticulous, mischievous and merry.

BanBanTonTon review:

On Mytron’s debut long-player for Multi Culti groovy 21st Century leftfield house gear collides with Daniele Baldelli and Beppe Loda’s hugely influential `80s afro / cosmic. The 9 tracks are chunky, chugging and full of funky, funny noises. Old school B-lines mixing with eccentric electronics. Spinning, spiralling sounds.

Sugar is an electro-pop, vocoder confection, cut from the same sonic cloth as cult classics like Codek’s Tam Tam. Created from tough trap drums, splashing effects and a mutant Giorgio Moroder bass arpeggio. The title track, Propellor, pits Kraftwerk-esque hardware harmonised vocals against a bongo loop and a whistling hook. Playground has simian shrieks surround tumbling tom-toms. Highway Maintenance adds kosmische synths to a dance of woodblocks and buzzing bottom end. Keep On Dubbing is an organ-led, clip clopping percussive canter.

Tracks such as Speaker Can Talk, shot through with disco lasers blasts and recalling Curt Cress’ Dschung Tek, also lift the tempo up, but the bulk of the music here is a mid-tempo, techno drum circle. Squelchy sequences gurgling in and out of programmed percussion. On Quasar, spiky acid edges in and slowly takes over.

Key references that come to mind are Baldelli’s own turn-of-the-2000s Cosmic Sound Project productions, and Wolf Müller’s scene shaking sides on Themes For Great Cites, from around a decade later.

BICEP – das nordirische Duo Andy Ferguson und Matt McBriar – kündigt „CHROMA 000“ an, eine limitierte Sammler-Vinyl-Edition mit einer Sonderverpackung, die Tracks ihres Labels CHROMA zum Abschluss der Serie zusammenfasst und zwei neue Bonusversionen enthält. Sie umfasst zwei Schwarze Schallplatten (140g) mit maßgeschneiderten „Terrain6“-6-Wege-Hyperfarbdruck-Außenhüllen. Jede Einheit enthält außerdem eine 12-Zoll-Neon-Acrylplatte mit Lasergravur (eine von vier einzigartigen Versionen, die zufällig mit jedem Produkt geliefert werden), die alle in einer durchsichtigen braunen Mylar-Hülle mit Pantone-Siebdruck untergebracht sind. Wie bei allen visuellen Produkten von CHROMA basiert das Design des Boxsets auf der einzigartigen und unverwechselbaren visuellen Identität von CHROMA, die in Zusammenarbeit mit David Rudnick und seinem Terrain Studio entstanden ist. Diese basiert auf einem maßgeschneiderten visuellen System und einer Typografie, die sich durch alle Aspekte des CHROMA-Projekts ziehen, vom Artwork über die Pressefotos bis hin zu den visuellen Elementen, die von Zak Norman, dem visuellen Partner von BICEP LIVE, entwickelt wurden und die er in die unglaubliche CHROMA AV-, Licht- und Lasershow integriert hat. Die Veröffentlichung von „CHROMA 000“ bildet nur einen Teil des ehrgeizigen, weitreichenden CHROMA-Projekts von BICEP, das sich über fast zwei Jahre hinweg über ihr eigenes CHROMA-Plattenlabel, eine Reihe kuratierter Veranstaltungen und eine sich ständig weiterentwickelnde hybride DJ/ Live-CHROMA-AV-Show entwickelt hat, die rund um den Globus getourt ist und über 70 Shows vor mehr als 500.000 Menschen gespielt hat, darunter Prime-Slots bei legendären Festivals wie Glastonbury, Parklife und Coachella sowie zwei ausverkaufte Takeovers im Londoner Finsbury Park, Brighton Beach und aufeinanderfolgende jährliche Takeovers im Londoner Drumsheds mit einer Kapazität von 15.000 Besuchern.

STRIKER TRAXX proudly presents its very first release — STX101: BALLAN “Chantal Grooves EP”.
Born as the new sub-label of SUPREME STRIKER, itself a direct emanation of the Skylax Records universe, STRIKER TRAXX sets the tone for a new era: raw, uncompromising, and forward-thinking. As always, the visual identity is entrusted to the legendary H5’s exclusive artwork (Daft Punk, Air, Logorama), delivering a striking design that transforms each copy into a true collector’s object.

For this inaugural strike, we welcome Asaf Ballan, aka BALLAN, an artist emerging with force from the vibrant beatscape of contemporary electronic music. With Chantal Grooves EP, he delivers a 12-inch packed with five club-weapons that dive deep into the essence of house and tech house, reshaping them with his own relentless, pumpy twist.

The trip opens with “How Should I Start”, a perfect ignition, teasing anticipation while locking you instantly on the groove. “Goddamnit (Club Tool)” follows as a pure machine workout, echoing Kerri Chandler’s house foundations while pushing them into today’s territory. “Members Only Club” exudes exclusive sophistication, a secret-weapon built for late-night dancefloors. On the flip, “Keep the Frequency Clear” hypnotizes with razor-sharp frequencies, proof of BALLAN’s sonic craftsmanship, before “Futuro” launches us headfirst into tomorrow—where innovation collides with the Romanian sunrise aesthetic, infused with a heavier, raw energy.

Influenced by the minimal masters (Zip, Ricardo Villalobos, Raresh) yet unwilling to compromise on drive and power, BALLAN delivers here a record where every track stands as a killer. Chantal Grooves EP is both a homage to the roots of house and tech house, and a manifesto propelling the genre into its next evolution.

STRIKER TRAXX launches with a statement: this imprint is made for DJs and dancers who still believe in vinyl as a sacred object and in the dancefloor as a transformative space. With H5’s exclusive artwork (Daft Punk, Air, Logorama)and Skylax’s uncompromising vision, each release is conceived as a weapon for the underground, and a jewel for the true collectors.

Vinyl only. For devoted believers.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly’s lead single ‘Waiting So Long (feat. Caribou)’. An unlikely duo - in that both artists are the same man, Dan Snaith - ‘Waiting So Long’ is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It’s simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.

Daphni music has always been Snaith’s way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile ‘Hang’’s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. ‘Lucky’ is squirmy and elusively intoxicating, ‘Invention’ skitters down meandering, inviting corridors, ‘Talk To Me’ grumbles and broods in the murk, and ‘Miles Smiles’ could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.

One such club is a good microcosm for the ethos of Butterfly as a whole. “Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany.” Snaith recalls, “It’s kind of, in one sense, the platonic ideal of the kind of club I’d want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don’t get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that’s still most interesting to me.”
This is the feeling that’s most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that – the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith’s bow, exhilaratingly human and unified by one singular concept – simple and joyful exploration.

Yeong Die would typically be described as DJ, musician, or “experimental” composer, but in reality she is a sculptor. Between the rapidly disintegrating boundaries of composition and sound design, her work employs a hunting and gathering of intangible material—bursts of memory, fragments of liminal space, interstitial banalities—materializing as boundless expressions that evade genre constructs. As an integral presence among Seoul’s most forward thinking sound artists, Yeong is in a constant uphill battle rejecting the reverence that so quickly creeps in and infects contemporary craft, that relegates even the most audacious attempts of her peers to pigeon-hole pastiche. Given this style-agnostic starting line, her ESP Institute debut 'Uncapturable' exudes non-urgency, an unfettered pace that allows breathing room, affording the listener freedom to mentally isolate and explore elements without fear of missing a “bigger picture.” There is a warm and welcoming feeling that invites repetitive, even studied listening. While half the work is somewhat singular in presentation—'1km', 'Like Your Flaw', or 'Burnt'—there are moments of meticulous complexity—'Morning Rum Punch' (featuring vocals by Cifika) and 'Did' (featuring a smattering of spoken words by icecream drum), both underground Korean peer artists. These moments feel more of like an acute focus on execution that compliments the overall shape of the album, rather than a dynamic contrast. Cifika’s vocals, in particular, command the listener’s periphery in a playful and refreshing way, exaggerating negative space and in-between moments that not only the paint an arresting stereo field but a remarkable sense of depth, not easily achieved without production sorcery. It is, without a doubt, these beautiful fleeting moments that we describe as 'Uncapturable'.

There are records that do not so much belong to an era as they pass through it, leaving traces rather than statements, circulating in the margins where function outweighs discourse. World Cup, written at the end of the 1990s by Kiko, emerged in precisely that way — as a techno track whose presence was felt less through promotion than through repetition, carried from booth to booth, absorbed into the working vocabulary of DJs who recognized in it something immediate and self-evident. Its architecture is minimal yet insistent, driven by tension and release, a form of clarity that resists ornament and instead privileges duration, pressure, and movement.

When it resurfaced in 2006, it did not return as a revision but as a continuation, reaffirming its role within the ecology of the dancefloor. The same internal logic remained intact, allowing it to re-enter circulation without friction, as though it had simply been waiting to be picked up again. In both instances, the track operates less as a fixed object than as a tool — something to be used, extended, and recontextualized in real time.

Bringing together these two versions alongside Tainted Life, the release traces a subtle but telling trajectory. If World Cupdefines a certain techno functionalism, Tainted Life reveals another dimension: a proto-Italo sensibility that gestures toward what would later coalesce as electroclash, not through stylistic declaration but through texture, tone, and attitude. Long absent from digital circulation and largely confined to obscurity, it appears here not as a rediscovery, but as a piece whose relevance has simply remained latent.

Nothing has been added, nothing has been altered beyond what was necessary to restore presence. The recordings are allowed to exist in their own continuity, detached from the temporal markers that might otherwise confine them.

The artwork, conceived by H5, extends this approach into the visual field. Its restraint is not aesthetic minimalism for its own sake, but a form of structural clarity, where composition and absence articulate a space in which the record can be encountered without interference, as if resurfacing from a parallel timeline that never fully closed.

repressed !

Francois Kevorkian is a name that should need no introduction. With over 40 years in the game FK has occupied numerous roles in his long and storied career - drummer, DJ, A&R man, remixer and producer - his skills know no boundaries. Having DJ-ed during the nascent days of club culture in NYC alongside Walter Gibbons, Larry Levan and more, Kevorkian has been there from day one. Years spent in the seminal clubs of the day sharpened his ears and his prowess behind the mixing desk saw him become the A&R man at the legendary Prelude records in the early 80's, this in turn led to him working with everyone from The Eurythmics, Depeche Mode, Erasure, D-Train, Yazoo, The Smiths, Kraftwerk and many many more. A true NYC original and legend, Kevorkian is still active today and the respect he commands amongst his peers has never waned, his adventurous extended DJ sets, seminal mixes and remixes and his open ears and open mind have ensured that he will go down in history as a musical pioneer.

Rewind to 1995. Kevorkian's 'Wave Music' imprint has come into existence with a handful of releases. No-one could imagine that his self-produced 'FK EP' - the next release on the label - would be a stone cold classic. Easily one of the most consistent, exciting and solid EP's to come out of NYC during this golden era of dance music. Across 4 tracks we are taken on a sound journey through a world that is undoubtedly informed by FK's time as an engineer, DJ and most importantly, a music lover.

EP opener 'Hypnodelic' brings us into this world, a deep, driving cut that fuses the dubbed out vocals of Freddie Turner against FK's keyboards and immaculate drum programming, oozing cosmic electronic soul, this track was destined to be a future classic. 'Mindspeak' also boasts some tough drums and with a respectful nod to Chicago is an incredibly mixed and arranged peak-time cut that will drive your dancefloor into deep space again and again. 'Edge Of Time' welcomes us to the flipside of the EP, wild Latin percussions, tablas and old school horn stabs drive this monstrous cut, not to mention cavernous dub FX and that huge bassline that just doesn't let up. Essential. 'Moov' rounds things out on a more subdued, stripped back vibe. Reversed percussions and spaced-out synth chords lace this beautifully understated and warm track, one that builds into a crescendo of melodies and hypnotic rhythms and the perfect way to close what has been a truly special musical journey.

This essential reissue of the 'FK EP' has been fully licensed, sanctioned and remastered in conjunction with FK from the original master sources by Optimum Mastering, Bristol UK, repressed onto high quality vinyl and packaged as the 1995 release was. A truly classic record indeed, available again for 2018. Welcome back Wave Music!

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 11 & 12, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 12

A1) Borai & Denham Audio - Make Me (original release 2023)

Released in 2023 on the British label Room Two Records (catalogue R212001) on twelve inch vinyl, Make Me combines breakbeat, house and speed garage with high energy, featuring clear use of Amen breaks, rumbling sub bass and sharp rave sounds. At the heart of the track lies an instantly recognisable vocal hook from the mid eighties, a sample taken from Donna Allen - Serious (1986). The result feels like a long forgotten rave anthem from the nineties wrapped in a modern sound.

The original twelve inch pressing quickly became a highly sought after collector's item and received a limited pink vinyl repress in 2025. This track, first issued only on orange vinyl in 2023, was officially re released once all samples were cleared. It has every ingredient of a future classic, a true underground anthem for fans of modern UK rave and jungle energy.

A2) Smoke City - Mr. Gorgeous (and Miss Curvaceous) (Mood II Swing Vocal Mix) (original release 1997)

Originally released in 1997 on the album Flying Away by Smoke City. The Mood II Swing Remix, produced by New York house duo John Ciafone and Lem Springsteen (also the producers behind Ultra Naté - Free), takes the song straight to the dance floor with a smooth groove, soulful vocals and a deep, hypnotic flow.

The iconic line "Cool and calm, Mr Gorgeous..." remains untouched, while the remix enriches the original Latin and trip hop influences of the band with that distinctive late nineties house atmosphere. The result is a timeless club favourite, almost nine minutes of pure vibe (the Mood II Swing Vocal Mix runs 9minutes and 20 seconds), adored by DJs who like to bring a touch of soul to their house sets.

Released on Jive Records, the track received great praise. Music Week highlighted its "tight ay ay ay hook" and noted that the Mood II Swing and Hyperspace mixes made it a real standout. The original version reached number one in Italy in 1997, and the Mood II Swing Remix has since gained cult status in the Belgian club scene and beyond as the perfect marriage between soul and dance floor energy.

B1) Chris Raven - I Know You Love Me Too (Bruce Norris Remix) (original release 1997)

Christian Raabe, better known as Chris Raven, is a German producer who made his name in the late nineties progressive trance scene.

The Bruce Norris Remix of I Know You Love Me Too (Additive Records, catalogue 12AD 027) first appeared in late 1997 and was officially released in early 1998. The remix builds an euphoric atmosphere witha beautiful melody, dreamy pads and powerful drums, all typical of the progressive trance sound of that period.

The track gained extra attention when it appeared on Northern Exposure 3: Expeditions by Sasha and John Digweed in 1999. Many fans first discovered it there (especially the Van Bellen Remix version), helping to cement the cult status of I Know You Love Me Too within the progressive and trance community.

B2) Grooveyard - Mary Go Wild (original release 1996)

One of the most recognisable and iconic club tracks in Belgian and Dutch underground house history is without a doubt Mary Go Wild, released in 1996 on EC Records. The track quickly became the defining anthem of the rave scene in the Low Countries.

With a raw groove around 133 BPM, pumping four to the floor drums and the hypnotic vocal sample "Mary... go wild!", the record set dance floors ablaze in the nineties. Producer Jeroen Verheij, also known as Secret Cinema (from the classic Timeless Attitude), perfectly captured the raw energy of the European house movement of that era.

To this day Mary Go Wild stands as a symbol of pure rave power, a timeless anthem that, as one Discogs collector put it, "still works on any dance floor." Original twelve inch pressings on EC Records and later issues on Blanco Y Negro are highly sought after, and the track remains a staple in retro house and classic DJ sets.

C1) Dave Swayze - Last Flight To Paris (original release 2000)

Dave Swayze, best known for his classic Goldwave, has several hidden gems to his name, and Last Flight To Paris is certainly one of them. Released in November 2000 on the Belgian label Yeti Records, the track is a subtle blend of trance and progressive house. It is known for its emotional melody, dreamy build up and strong percussion, built on the foundation of progressive trance but with thewarmth and groove of house.

At the time, Last Flight To Paris was frequently played by progressive trance DJs and soon became a cult favourite among vinyl collectors within the genre. Original pressings on Yeti Records are now extremely rare and much sought after. The mix of emotion, euphoria and timeless club energy makes Last Flight To Paris a hidden treasure from the late trance era of 1999 and 2000.

C2) Joe Goddard - Music Is The Answer (Hot Since 82 Remix) (original release 2017)

This remix by Hot Since 82 (Daley Padley, from Barnsley in the north of England) for Music Is The Answer by Joe Goddard is partly based on the original classic Celeda - Music Is The Answer (in the Danny Tenaglia Remix). It was released in February 2017 as a digital exclusive through Domino Records.

Hot Since 82 reworked the original, a vocal house track by Hot Chip member Joe Goddard, into a deep, grooving house track with a warm rolling bass line. The soulful vocals of Joe Goddard (featuring SLO) take on a subtle melancholic tone in his remix, creating a modern house classic filled with emotion and drive.

The remix became a major club favourite in 2017 and 2018, supported by leading names in the tech house scene and heard at festivals around the world. Interestingly, this popular version had never been released on vinyl, which only increased its cult status among collectors. Music Is The Answer (Hot Since 82 Remix) remained a digital classic for years, until now, finally available in this long awaited vinyl edition.

D1) Just A Man - I'm Sorry (Original Club Mix) (original release early 2000s)

The French project Just A Man consists of brothers Hervé and Nicolas Subrechicot. Their track I'm Sorry is an emotionally charged house record that perfectly captures the early 2000s club atmosphere.

Released in 2003, the song combines soulful male vocals with a warm, rhythmic production that blends UK garage and classic club house influences. The Original Club Mix (6 minutes and 14 seconds) builds gradually towards a powerful, uplifting climax, carried by rich chords and an irresistible groove.

Although I'm Sorry stayed somewhat under the radar at the time, it is regarded by connoisseurs as a hidden gem, a perfect balance of melody and groove. The twelve inch vinyl release (on RKG / Motor Music, 2003) is now hard to find and highly prized among vinyl and house collectors, which only adds to its appeal.

I'm Sorry embodies the pure sound of early 2000s vocal house: sincere, funky and danceable, with that unmistakable UK garage touch, even more evident in the G Box Garage Club Remix on the same EP. An unfairly overlooked track that has always remained a true timeless classic since the very beginning of 12 Inch Lovers.

D2) Teddy Pendergrass -Life Is A Song Worth Singing (Jamie Jones Remix) (original release 2019)

In 2019 Jamie Jones breathed new life into the classic soul song by Teddy Pendergrass with a contemporary house rework. The remix was released in March 2019 as part of the digital EP Mixmag Presents: Teddy Pendergrass - The Remixes, issued in honour of the documentary If You Don't Know Me, a film about the rise of Teddy Pendergrass, the first African American male artist to achieve five consecutive platinum albums in the United States during the seventies.

Jamie Jones stayed true to the feel good essence of the 1978 original but wrapped it in a modern club sound, with pulsing synths, a warm rolling groove and a tight four to the floor beat providing the perfect base for Teddy's powerful and instantly recognisable voice.

The result is a captivating, soulful house track that effortlessly bridges past and present without losing the emotional power of Pendergrass's vocal delivery.

Despite its widespread popularity in the international club scene, where it became a favourite among DJs who love to blend soul with house, this remix never had a physical vinyl release. Until now, with its long awaited appearance on 12 Inch Lovers Sampler 12.

Since 2020, 12 Inch Lovers have been releasing new samplers every year, eagerly anticipated by collectors. These samplers have now become a staple and are easily added to vinyl collections across Europe. They offer timeless classics and rare tracks that are often hard to find elsewhere.

With Samplers 9 & 10, they surprise again with a mix of modern classics and tracks that have never been released on vinyl or are difficult to find. By adding unique and exclusive tracks, the 12 Inch Lovers samplers remain innovative and high-quality. They are a must-have for DJs, collectors, and fans of contemporary classics!

SAMPLER 10

A1) GusGus - Crossfade (Maceo Plex Remix) (Original Release 2014)

Released in 2014 on the German label KOMPAKT, this remix by Maceo Plex features Ten Walls-like horns, vocals, and pumping drums, making it a true Ibiza floorkiller. The vocals are by Konstantin Sibold. This remix was only released as a white label (Kompakt Exclusive) and has yet to have an official vinyl release. Despite this, it remains a favorite among DJs and clubbers worldwide, regularly played at festivals and clubs.

A2) Plaything - Into Space (Original Release 2001)

This groovy track, released in 2001, contains a sample from Sheila & B. Devotion's Spacer, with Nile Rodgers as one of the producers. The original trackSpacer is an iconic disco hit from the 1970s, and Plaything put a contemporary spin on this classic. The track was a hit in Belgian clubs in the early 2000s, often played by prominent DJs. It has since been released on various labels and remains a timeless favorite in the electronic music scene.

B1) Ion - W.B. (Original Release 2002)

This trance classic by DJ Ion was first released in 2002 on the Belgian label B². The track quickly became a beloved classic within the trance community. Danny Casseau, the producer behind this track, is also known for other legendary works, including the trance classic Ion 98 - Tructure, which had a significant impact on the trance scene. W.B. is a pure, old-school trance track, crafted in the way only tracks from that era were!

This vinyl is extremely rare and hard to find, making it a sought-after item for collectors and trance lovers. It is still played in the sets of DJs who cherish the older trance sound, and it fits perfectly in contemporary sets as well!

B2) Subaltern - Forever (Ledge Forever Remix) (Original Release 2007)

This club banger was released in 2007 on the French label Voices Records and was a popular track in well-known Belgian clubs like Illusion and La Rocca. The Ledge Remix added an energetic, infectious vibe that made it a true hit on the dancefloor. It received an official vinyl release in 2007, but it is now difficult to obtain. Subaltern's Forever remains an unforgettable club classic still appreciated by electronic music lovers.

C1) Lykke Li - No Rest For The Wicked (Joris Voorn Remix) (Original Release 2014)

Swedish singer-songwriter Lykke Li scored a worldwide hit with I Follow Rivers, but also had great success with the powerful track No Rest For The Wicked. The Dutch producer Joris Voorn gave his own tech-house spin to the track in his known style!

Voorn's remix keeps the atmospheric mood of the original but adds a new, dancefloor-friendly dynamic that makes it suitable for the electronic music world.

This is the first time this remix is being released on vinyl since the original release in 2014, making it a rare and desirable item for both collectors and DJs. Thanks to the powerful mix of melody and rhythm, this remix of No Rest For The Wicked remains a timeless favorite that has found its place both in clubs and in vinyl collections of music enthusiasts and DJs.

C2) The Roc Project feat. Tina Arena - Never (Filterheadz Luv Tina Remix) (Original Release 2002)

This Spanish dance track hit Europe in 2003, thanks in part to the legendary remix by the Belgian techno duo Filterheadz. Brothers Bert and Maarten Wilmaers, known for their distinctive techno sound, gave the track their own twist with strong beats and an uplifting bassline, creating a timeless club hit that was heard everywhere in the early 2000s.

The vocals by Tina Arena add an emotional layer, while the Filterheadz Luv Tina Remix has stood the test of time and still gets everyone moving. At 12 Inch Lovers parties, this track never goes unnoticed and often brings the night to a high point. This track is a must-have for both collectors and DJs who love a mix of emotion, energy, and a solid techno sound.

D1) Soul Syndicate - Inside Of Me (Steel Union Remix) (Original Release 1995)

Speaking of a trance classic, this one is a true gem! Inside Of Me was released in 1995 during the golden years of Belgian trance music on the legendary Belgian label Aquatic Records. The Steel Union Remix by Zzino is an absolute favorite among trance lovers.

With its iconic sound and unmatched energy, this track is a true ode to the Belgian trance scene. It remains an unadulterated classic that still makes an irresistible impact, not only at retro trance events but also in the sets of contemporary DJs. Since its release, this remix has been hard to find, making it an even rarer piece of trance history. A track that has stood the test of time and is a must-have for collectors and fans of old-school trance.

D2) Ken Laszlo vs. Disco Dice - Hey Hey Guy (House Dub) (Original Release 2003)

Ken Laszlo, the Italian singer who became globally famous in the 1980s with the iconic Italo-disco hit Hey Hey Guy, received a re-release in 2003 on the house label Dubmental. This version was reimagined by Disco Dice, who gave the track a fresh house vibe with a more modern sound. Belgian DJ Jean, known for his influence on the Belgian nightlife scene, introduced this track into the clubs and transformed it into a club classic.

This release, although released in 2003, is now very rare and hard to find on vinyl. It's a hidden gem that continues to withstand the test of time, making it a valuable collector's item for lovers of both Italo-disco and house.

D3) Icehouse - Hey Little Girl (Infusion Remix) (Original Release 2002)

The Australian band Icehouse released the iconic track Hey Little Girl in 1982 on the British label Chrysalis. This synth-pop track was a big hit and still remains one of the classics from the 1980s. The original track was later included in the remix album Meltdown in 2003, where the Australian duo Infusion created a contemporary electronic remix that gave the track a new dimension.

The Infusion Remix adds a modern, danceable twist to the original synth-pop sound. This version surprised both fans of the original hit and lovers of electronic music, remaining a sought-after track in DJ sets.

This track has been unavailable on vinyl since its original release in 2003, making it a rare collector's item.

Melbourne / Naarm strongholdButter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Three entrantRBIserves up a tweaked-out psy-not-psy cut with a built-in spin-back upending the room, beforeUnsolicited Joints- siblingsCousinandBen Fester- slide in with a deep dub techno shuffler. Tokyo mainstayHarukaseals the side withEventide, a serotonin-tipped house curveball made in collaboration with Rotterdam'sCharlton Bakeliet, one of the last internationals to grace the Mercat X booth.

The B-side blooms withOK EG's zoned, psychoactive techno, handing over toHybrid Manto diffuse the tension with their morphing dubwise excursion.Yuzo Iwatacontinues his uncategorisable strain, self-described as EPM (Electronic Psychedelic Music), marked by Japanese ingenuity and free of genre boundaries. Finally,Sleep Dround out the set with a rogue link-up withPosseshot, a raw and adrenalised raver laced with a vocal that snarls closer to The Prodigy than hip-hop.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

Melbourne / Naarm stronghold Butter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.

Disc Two lifts off with recurring contributor Rory McPike's first label outing as Rings Around Saturn, a blissed-out cosmic floater skimming the periphery. Booked in the early days of the label's formative Mania residency, Japanese don Gonno twists freestyle, techno and breaks into pure ecstasy, before the unerringly bold Jennifer Loveless spikes the punch with a hallucinatory mix of drums, disembodied voice and jazz club keys.

On the flip, Boorloo's Guy Contact rolls out Dance In The Grey, a shadowy prog churn pitched between new-romantic vocal sheen and EBM muscle, with Kate Miller completely rewiring the script on Sub Series E - a masterfully minimal, double-time meditation. suki presents his Sniper1 alias to close with a demonic body-jacking groove loaded for the system.

Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

Melbourne / Naarm strongholdButter Sessionsclock 15 years in the game with a trilogy of 12"s, sustaining their uncompromising streak of peak-form electronics. The family-style V/A binds friends, collaborators, former studio neighbours and DJ booth allies, capturing a label that exists as community as much as catalogue.



A new chapter in Butter Sessions' ongoing Japanese exchange sees Sapporo sound sculptor Kuniyukire-opening a 2015 tour collaboration with label heads Sleep D- a deep, spatial beatdown powered by dub pressure and percussive hypnosis. Shadow-lurking prodigy Mosam Howiesondrops in with his trademark scatterbrain techno, while Hasvat Informantlocks into joint-consciousness big-room radioactivity.


Opening the B-side, Fader Capfuses Balearic psy-ence with Mike Dunn-esque utilitarian jack, hovering somewhere between '80s memory and future vision. Tokyo's Mayurashkafollows with Survival Guide, big beat colliding with drug chug, before Albrecht La'Brooyreunite for a divine chill-out tent slowdown, magnifying sample detail with exacting flow. We're adrift until Sunju Hargunlights the beacon with スカイサーファ(Sky Surfer), Thailand's emissary of ritualistic minimal trance.


Whether taken alone or folded into the three-disc triptych, each instalment stands as a bag-ready constant, charged with Butter Sessions' curatorial finesse.

Alex Kardo was initially a choreographer and dancer for Riccardo Cioni, with whom he shared his most important successes in the 1980s (he is one of the two dancers dressed in red in Cioni’s legendary video “In America”). He is still very active today as a dancer and singer.

In 1988, he released “Music Flying”.

This 12″ 45rpm, in addition to the original and instrumental versions, includes a powerful Chicago house (Ron Hardy… / Electro Italo remix by Delphi, one of the Tiger & Woods who has a drum machine instead of a heart and who has been setting dancefloors in Rome and beyond on fire for over twenty years. Also included is a house version by Kardo’s loyal friend, DJ Alex Gomma.

Earth Running, originally released in 1979 on the Tappa's Stars label, can be considered the Jamaican's toaster's maturity album. Lyrics here are rooted in the "ghetto life" as always. A work with an international flavour: On Side B, two convincing dance tracks, the anthemic funkfest "Freak" and "One More Chance", often championed by DJs in the following years. A work that explored new territories, a mandatory re-issue for all authentic reggae lovers.

Mike Mareen – “Africa” (Previously Unreleased Maxi Single) – A long-lost Italo disco gem finally sees the light of day.

In the mid-80s, Mike Mareen was at the height of his fame, setting charts and dancefloors on fire with hits like “Love Spy” and “Agent of Liberty”. Riding that wave, he began work on his second album “Let’s Start Now”, which featured socially conscious songs addressing issues like the Berlin Wall, German reunification, and famine in Africa.

One standout track, “Africa”, was inspired by movements like Band Aid and USA for Africa. Though recorded and intended as a single, it was mysteriously shelved and never released in maxi format… until now.

Thanks to Vintage Pleasure Boutique, this missing piece of Mareen’s discography is finally available on vinyl, complete with a special DJ Edit crafted for today’s retro selectors. A must-have for fans and collectors of true 80s synth-pop and Italo disco.

2026 Repress

A mastermind when it comes to crafting quality electronic music across the house spectrum, expressing various shades of his vision, French DJ/producer Traumer has solidified himself as one of the country’s finest exports while his alias has become a home for heavily sought-after minimal-leaning house productions that journey through expansive textures and trademark percussion. After combining with Romanian favourite Cristi Cons early last year as part of the imprint’s collaborative ‘X Series’ and following a series of releases on his own gettraum label, the Parisian makes a highly-anticipated solo return to Enzo Siragusa’s FUSE as he unveils his latest four-track offering in the form of his ‘Nectar’ EP. The title track ‘Nectar’ heads up the package and brings a blend of snappy drum grooves and zippy synths beneath hooky female vocals as it builds into a rolling anthem, while ‘Lamerci’ gets dubby with crisp percussion shots guiding hazy stabs and deep grooves. On the flip, ‘First School’ strips things back and focuses on a snaking bassline and signature silky melodies, before closing on the interwoven textures and shimmering tones of B2 ‘Rodage’.

Concrete City's two residents re-emerge with 'Serious Coin', the second long-player from label head DJ Superherb and long-time collaborator Ten Years Lost. Where their 2023 debut basked in heat-hazed hedonism, this follow-up sharpens the focus. At times deeper, and consistently drawing from the pair's shared language, Serious Coin is an unmissable entry in the Full Dose catalogue.

Across eight tracks, the duo lean further into their soulful instincts, balancing weighty low-end pressure with a distinctly human emotional warmth. Vocoded vocals, coalescing with dungeon synths, being carried by heavily swung rhythms represent a new strand in the pair's musical DNA.

The album captures the stillness of early morning city streets, yet still manages to push rhythmic elements forward. Barely-present samples and subtly detuned synths give the tracks a lived-in feel, as if they’ve already soundtracked a hundred late nights before reaching your speakers.

Like the first, this album has one foot firmly in dancefloor utility and the other in headphone introspection. Don't miss this dustier and deeper evolution to the Full Dose sound!

A rising artist of the French electronic scene, Naajet asserts her identity with The Night Starts Now, a four-track EP that celebrates the freedom and intensity of the night. Co-founder of the Bande de Filles collective and known for her explosive universe blending House, Hardgroove and Breaks, as well as for the unique energy inherited from her dance background, Naajet delivers here a sonic manifesto conceived as an ode to club culture and to the present moment.

“I imagined this EP as an anthem to the world of the night. The night offers us unparalleled freedom, an outlet that allows us to be ourselves, to create, to love. The Night Starts Now captures this celebration of the present moment and this declaration of independence.” Naajet Opening the EP, “Ready To Shine” unfolds radiant House nourished by Pop and 90’s sounds. With a clear and ascending rhythm, the track combines euphoria and introspection. “I composed this track as a joyful and introspective journey that prepares us to embrace the night. For me, it is a call to accept our wounds, to transform them into light and strength, so that we may shine brighter when we enter the club,” explains Naajet. Between ethereal vocal lines and shimmering pads, the track acts as a ritual of entering the night, inviting us to turn wounds into strength and to shine on the dancefloor. The second track of the EP, “Sugar”, embodies the effervescence of the club. Carried by a hypnotic voice and an effervescent rhythm, the track celebrates the communion of bodies and the liberating energy of dance. “It is an ode to dance and to bodies coming together. This track speaks of those moments when, on the dancefloor, boundaries fall: we sweat together, we free ourselves together, and energy flows from one body to another,” says Naajet. A true concentrate of intensity, “Sugar” captures the moment when sweat, rhythm and abandon merge into a collective movement towards freedom.

With “I Can Be Anything”, Naajet changes register and flirts with deeper, even techno textures. Built on a throbbing pulse and sharp synths, this track is meant as a manifesto of identity. “I really wanted to propose a track that claims our right to free and plural expression and sexuality. I Can Be Anything is about our multiple identities, our ability to reinvent ourselves and to refuse any form of formatting,” she says. Between club intensity and political resonance, “I Can Be Anything” questions our multiple facets and embodies the assertion of an elusive and free self. Closing the EP on an euphoric note, “May It Never End” stands out with its broken rhythms and powerful synths. The track conveys the transcendent energy of the end of the night, when dawn arrives but we refuse to leave the collective trance. “I wanted to put into music this feeling of infinite energy, when time is suspended and the party seems to never have to stop. It is this euphoric vertigo that connects us all in the same breath, this utopia of a night that would never end,” says Naajet. A true apotheosis, this track embodies the utopia of an eternal night.

DJ, producer and co-founder of the Bande de Filles collective, Naajet has established herself with a singular universe where House, Hardgroove and Breaks blend, nourished by her background as a dancer and an instinctive sense of groove. For the past three years, she has performed on French and European stages – from Berlin to Amsterdam, via Geneva and Oslo – and has made her mark in clubs such as Rex Club, Le Sucre and Badaboum, as well as festivals like Nuits Sonores and Kolorz. On the production side, she has released several acclaimed EPs on renowned labels such as Shall Not Fade and Monki & Friends. In 2025, she takes a new step with the launch of her label SWEAT Records and a residency at Le Sacré in Paris, affirming her role as an ambassador of a free and intense club culture. She also collaborates with the waacking company MADOKI, for which she composes and mixes projects at the crossroads of dance and music. With The Night Starts Now, Naajet confirms her status as an essential artist of the new electronic generation1

The announcement of the single was covered by the BBC, NME, The Guardian, Resident Advisor, Beatportal, DJ Mag and many others!

Here's the link to view the video

LIMITED EDITION PLEASE MAKE SURE YOU PRE-SALE AS THIS WILL SELL OUT
After 25 years as a fan-favourite in his DJ sets, Fatboy Slim’s ‘Satisfaction Skank’ arrives with full approval from The Rolling Stones and access to the original stems.

DJ Support: BEN UFO, Solomun, Marco Carola, Damian Lazarus, Jamie Jones, Joseph Capriati, Ilaria Alicante, Michael Bibi, Paco Osuna, D'Julz, Groove Armada, Dennis Cruz, Chloe Caillet, Kettama and many more

Enzo Siragusa opens 2026 with his ‘Kilimanjaro Sound’ EP, a release that expands on last year’s standalone single. Marking both Enzo and FUSE’s first drop of the year, the EP delivers the latest instalment in his longstanding Kilimanjaro concept while reaffirming the label’s position at the heart of underground club culture.

Following the digital release of ‘Kilimanjaro Sound’ back in October, the full EP frames the title track within a broader narrative of rhythm, atmosphere, and movement. A long-time fixture in Enzo’s sets throughout 2025, the title track established itself as a fan favourite through its rolling percussion, weighty low-end, and expansive spatial design, and now it takes on renewed presence on vinyl. New cut ‘Liquify’ pushes deeper into Enzo’s rhythmic sensibilities, pairing fluid groove structures with subtle tension and release. Designed for late-night floors, the track unfolds patiently, allowing swing, texture, and space to do the heavy lifting. It’s a natural continuation of the Kilimanjaro language, less about immediacy, more about immersion, showcasing his refined understanding of how momentum is built and sustained in true club environments.

Completing the EP is a remix from Giammarco Orsini, whose Garage Dub Mix of ‘Kilimanjaro Sound’ offers a fresh perspective while remaining true to the original. Born in Italy and now based in Berlin, Orsini has quietly evolved into one of the scene’s most respected selectors and producers, with releases on Cragie Knowes, Mood Waves, and Shonky’s Stoned Pilot. His interpretation strips the track back to its essentials, reintroducing it through a garage-leaning lens that prioritises groove, swing, and subtle pressure.

As the first release following FUSE’s latest DJ Mag Best of British Award, marking their second Best Club Event win, the EP reflects the values that have long defined the brand: community, longevity, and music built for real dancefloors. Pressed to wax, the release extends one of Siragusa’s most recognisable concepts and sets the tone for the year ahead - measured, confident, and rooted in the underground.

THE PARTY is a celebration that has existed for nearly 10 years in Paris. A private event, off the radar of social media, THE PARTY is inspired by the New York Loft, and gathers between 150 and 400 people twice a year, under a church.
It was created by Serge Papo and his wife Maryvonne Beaune. Serge Papo organized the first rave parties in Paris in the early 1990s; he has been a DJ and party organizer for over 30 years.
On January 31, 2026, THE PARTY will celebrate its 10th anniversary, will invite the DJ of the New York Loft, Douglas Sherman, and will launch its label, THE PARTY RECORDS, along with a debut release — the double single Crystal Clear / Zeva — the result of a collaboration between Serge and Etibar Asadli, an exceptional jazz pianist from Azerbaijan who now lives in Paris.

We’re back on PANORAMA Records with a stone cold cult classic from Danser’s Inferno, lifting “Sombre Guitar” off their elusive 1973 LP Creation One and giving it a fresh run on 7inch. Long treasured by jazz heads and deep-digging DJs, it’s one of those records that has been in the bags of discerning music lovers for years, moving dancers.

Musically, “Sombre Guitar” sits in that sweet spot between Latin jazz and jazz-funk – rolling congas, driving kit, tight horn lines and that drifting, melodic guitar figure that pulls everything together. It’s lively and percussive enough for the dancefloor, but still has that slightly cinematic, reflective feel that rewards proper listening too. A true jazz dance cut that works just as well at home as it does in a warm-up or end-of-night moment.

This PANORAMA edition brings it back into reach, cut loud and clear so it can do what it was always meant to do: move a room.

As ever, PANORAMA Records is about unearthing and reintroducing rare and essential music to new ears. From German jazz and Brazilian fusion to Latin-leaning grooves like this, the focus is on records with real soul and longevity, remastered with care and treated with the respect they deserve.

The glimmer in our eyes gallops as a wild stallion toward infinity, in a screaming silence, wears the cape of innocent understanding. Our love is a grave danger, which doesn't shy away from its fate. There is nothing to be afraid of tonight. Love is the bastard child of the Heavens and the pits of hell, it encompasses the entirety of human suffering.
What if we isolate it to a singular moment? Quick and wonderful moment, without trying to hold on to it and wanting it to stay forever?
Between the concrete to the woods to the sea We will be quiet until we understand That this, this is momentary and unfathomable We will take this in, with a deep breath
Until we plunge in and scatter For out of particles wast thou taken and unto particles shalt thou return Walking the line drawn exactly between chaos and symbiotic harmony.

The Libra LP finds DJ Dex searching for the perfect balance on the dancefloor. "Freeks N' Geeks" is a shameless party anthem asking dancers to get their geek and their freak on with stomping kick drums, percussion, acid funk, and hands-in-the-air horns. "Papa Was a 909" reinvents a classic Motown anthem via a relentless 909 drum machine workout. "Hoodrat" pays homage to Detroit minimalism and Chicago jack—doubles are essential for the creative DJ. "The Balance" merges an 808 kit with clever percussion, melodic chords, and sci-fi synths for a tense, building track ready for peak-time action. "Casa Oscura" takes equal inspiration from hi-NRG disco tracks and the funkiest aquatic synths of Drexciya for a vibe entirely its own. "Astrological" is the LP's polyrhythmic, thumping, big-room techno cut where cascading synth lines meet atmospheric pads and vocal samples.

Ordering for 2026 repress

Under one of his most notable guises, Larry Heard is pleased to present a new album for 2018. 'Cerebral Hemispheres' is his first full length album as Mr. Fingers in almost 25 years. Famous as one of the most important heads in the dance music around the world, Larry has enjoyed a successful career as a producer, remixer, collaborator, vocalist and DJ spanning 35 years. Due for release on his own imprint Alleviated Records, 'Cerebral Hemispheres' features 14 new pieces of music that allows the listener to fully immerse themselves and dig deep into Larry's musical world.

nagoyaka na kaze / 和やかな風 (quiet wind): a collection of forward-thinking electronic experiments sourced from central Japan - co-curated by Nagoya artist abentis for Facta & K-LONE’s Wisdom Teeth imprint.

The project profiles a close-knit community of music makers operating in and around the Japanese city of Nagoya: one of the country’s most populous and industrial cities, but one all too often overlooked in terms of its cultural significance.

Curated in close collaboration with local scene organiser Yuya Abe - aka abentis - the record seeks to capture the creative energy of a community of artists making hard-to-define, future-facing electronic music away from the clamour of the bigger cities. “In Nagoya, there’s a strong culture of supporting artists. Even if you pursue music in your own way, as long as it’s good, you’re encouraged to keep doing what you want”, explains abentis. “Within that environment, my generation has been able to freely bring in elements we like from all kinds of genres, combine them in our own way, and express ourselves individually. If you go to Tokyo or Osaka, that kind of freedom isn’t something you can take for granted.” Spiritually, Nagoya fits the mould of cultural hotbeds like Bristol, Detroit or Melbourne, showing that some of the most innovative creative communities form away from the glare of the capital cities. Like Detroit, Nagoya is principally known for being a major auto manufacturing hub, famous for being the home of Toyota Motors - but behind the scenes, it is quietly harbouring one of Japan’s most vibrant and forward-thinking electronic music scenes. “In a good way, Nagoya is a bit removed from the cutting edge, so you find people making all kinds of music”, explains Karnage. “If you’re making music, you feel like part of the crew, and people of different ages mix together without much hierarchy.” The city’s music scene is characterised by a freedom to mix genres and an open-door approach to creatives of all disciplines. The artists featured come from a diverse set of backgrounds, ranging from hip-hop to noise music, but have found a common collective identity in their omnivorous approach to genre. As such, the record moves fluidly between shimmering ambient and new age (Am Shhara, DHYAN, daiki hayakawa), psychedelic minimal house (Methodd, abentis), abstract, low-slung downtempo (baptisma, Nasty Soupman) and spaceage steppas (Karnage). “I’d say the way ambient, new age and that kind of sound design are blending nicely with dance music feels somewhat new”, says baptisma, the crew’s eldest member and de-facto scene leader. Responsible for bringing artists like Basic Channel, Mala and Jan Jelinek to the city, baptisma has been crucial in establishing underground electronic music in Nagoya since the 90s, and now helps cultivate the next generation of local talent. “Artists and DJs are seamlessly mixing ambient and new age with techno, house and bass music. I think that’s a really interesting development.” nagoyaka na kaze has its roots in a one-off event held in October 2024 as part of the 10 Years of Wisdom Teeth Japan tour. Curated by abentis in collaboration with Facta & K-LONE, the showcase featured live sets from eight artists based in and around Nagoya at one of the city’s key dance music hubs, Club JB’s. Each of the artists features again here, on record, presenting an original commission produced especially for the project. The record’s art direction was led by Yudai Osawa - in-house designer for Kankyō Records, the much-loved Tokyo record shop run by H. Takahashi - and features original photos by Hayato Watanabe.

Hearts and Minds is a new vinyl-only label founded in 2025 by house-head Rich Carrick, named after his Northern UK club night of the same name (co-founded with DJ partner Rayees), and dedicated to showcasing the finest underground artists old and new who have influenced him over the past 30 years. First up is a hero of the scene who carries on his tradition of making 'sublime, sophisticated machine music' with something a little different, in the form of two deep chuggers that will sound equally as good on more discerning dance floors, or on home systems. Lead track 'Acid Cry' brings to mind the menacing, string-laden intensity of Underworld's 'Dark and Long', while the flip-side 'Feel That Vibration' is an uplifting euphonic workout reminiscent of a Spirit Catcher composition. The quality is, unsurprisingly, high, and there are more exciting releases planned for the near future. Definitely one to watch!

2026 Repress


DJ Koze's 2013 album opus Amygdala has continued to bewitch all who encounter it since its release. Tipped as his own personal Sgt. Pepper, the sublime long-player revealed a fully-realised and personal body of work, complete with a classic songwriting at its core, House in its heart, and veins coursing with psychedelic color. La Duquesa' was the album's dreamy single standout, a journey into deep, tropical ecstasy. XTC' begins in the same spirit, and captures the all the blissful allusions of its name, but its initial gentility belies the deep intensity to come. Floating pads glow with celestial ambience as a kick drum is gradually coaxed into solid form, and the introduction of spoken text begins the second act. Many people are experimenting with the drug Ecstasy,' it says, ...is the drug like the lie and meditation the truth Or am I missing something that could really help me". XTC' then transforms: sweetly imploring tones become demanding, gentle gradients between chords turn hard-edged, and sharp hi-hats cut through the haze. Complete with Koze's signature percussive quirks, it drives towards the track's final pay off: an undeniable, all-consuming, irresistible high. Knee On Belly' recalls Koze at his most tongue-in-cheek and overt, it is bright, bold and literally brassy, using cut-up horns of all shapes and sizes to patchwork together his own unique arrangement. With the highs and mid ranges accounted for, Koze adds in a swollen, thrumming bass line to mix to bring this floor-filler to life. Knee on Belly' recalls a raw, filtered and funky approach to groove, with a nod to disco house and the art of artful sampling, as it orbits between its own neon highs and simmering lows.

For two decades, Hudd Traxx has stood as a pillar of underground house music – a label defined by longevity, taste, and its ability to bridge the old school with the new. To mark its twentieth anniversary, the revered UK imprint presents ‘20 Traxx From The Hudd’, a specially curated, all-new twenty-track compilation handpicked by label founder Eddie Leader.

The compilation brings together a global, star-studded lineup of artists who embody the Hudd Traxx ethos: soulful, inventive, and uncompromisingly underground. Contributions come from Groove Armada, Seven Davis Jr., Chez Damier, Cinthie, Jovonn, Oliver Dollar and others, offering a snapshot of the label’s wide-ranging influence. From the silky deep house depths of Black Loops’ opener ‘Soul to Soul Communication’, to the unmistakable analog warmth across Cinthie’s ‘Hudd House’, to the raw, stripped-back energy of Seven Davis Jr.’s ‘Infrasound’, the collection captures the many deeper shades of house Hudd Traxx has championed for twenty years.

Founded in 2005, Hudd Traxx has served as a trusted home for pioneering artists such as Nightmares On Wax and Matthew Herbert, guided by Eddie Leader’s consistent curatorial vision and unwavering commitment to craft. As a producer, his releases on Classic, Robsoul, and Balance Alliance have been supported by Laurent Garnier, Josh Wink, Disclosure, and many more. ‘20 Traxx From The Hudd’ isn’t just a celebration of the past; it’s a fervent reminder that Hudd Traxx remains as relevant and vital as ever.

DJ Homicide is a celebrated American DJ, musician, rapper, singer, record producer and radio personality. With a career that spans more than three decades, he has left a lasting mark, mostly as a key member of the multi-platinum band Sugar Ray, though he has also made some fine solo moves. And he backs that up here with a couple of full-fat jams on CA to get the new label underway in style. 'Pause Lion' starts things off with some raw, guttural vocals and low slung boom-bap drums that are direct and edgy and on the flip, 'Ghetto Scenario' rides a more smooth groove with some ragga vocals that call to mind the best of Sean Paul.

ANiML comprises accomplished and storied electronic artists. Their Stratasonic label has become a respected home for their freeform musical explorations, with no genre restrictions. They often call on friends and influential pioneers to collaborate on releases, and the originals they produce are defined by improvisation, creative songwriting, and intentional collisions of different moods and grooves.

'Unioness' is a tender but crisp late-night sound. Soft, jazzy melodies drift over orchestral swells with drum breaks cascading below. Abstracted vocals and serene strings further enrich this sophisticated sound, which draws on soundtracks and instrumental soul groups.

Stoned Autopilot is an alias of long-time studio magician Martin Buttrich, who is also part of Better Lost Than Stupid and has a fulsome catalogue on many of the scene's most recognisable labels. His dub rides smooth waves with aching vocals melting into the mix, and the melodies looped, smudged, and smeared in hypnotic fashion.

The second rework comes from DJ Sneak, the hugely prolific and consistent Chicago house innovator whose famously raw, tracky sound keeps him in a class of one. His fantastic Big Bawse Re-Rub brings a rolling four-four groove, a delicate sprinkling of percussion, and a loopy rhythm that locks you in and zones you out as curious melodies unfurl up top.

Rekids begins 2016 with the launch of an exciting new talent. South Korea-born DJ and producer Peggy Gou has been honing her production skills since her days in London. Having moved to the UK capital at age 14, she began producing tracks at a prodigious rate while studying university, honing her sound and refining her skills with advice from some of the city's most renowned DJs and producers until she had crafted an initial selection that will form her debut EP, set for release Rekids in January 2016.

Now based in Berlin, Gou has drawn on her years of DJing to help shape a sound that draws on Detroit & NYC house, as well as the African rhythmic sensibility and boogie funk influences she shares with Early Sounds duo Nu Guinea, with whom she had piano lessons and sought production advice from as her music took shape. In addition to her work as a stylist and fashion producer, Gou has also drawn on her art & design abilities to create the EP artwork.

The Art of War 12" includes two original productions plus a remix from White Material's Galcher Lustwerk. The original mix of Troop centres on a funk bassline which propels its dream-like tropical groove, while Lustwerk's remix re-purposes the track as a Fred P-esque jazz-infused star-gazer. The EP's other original production, In Sum, again asserts Gou's talent for raw, propulsive rhythms and subtle melodies.

Two decades into his winding voyage through music, culture and creativity, Tom Trago has become part of the densely woven fabric of the Dutch electronic scene - a producer, DJ, label owner, collaborator, remixer, radio host and DJ's DJ who is renowned not only for his impressive productivity, but also the genuine depth and variety of his work. While it was Trago's distinctive DJ sets that once grabbed headlines - he famously held residencies at renowned Amsterdam institutions Trouw and De School, and for a decade spent much of his time jetting between some of the most renowned clubs in Europe - in recent years Tom has cut down on appearances. Today, he chooses to be far more selective about where (and when) he DJs or performs live, often working with a handful of cherished venues and festivals while ensuring that his travels are sustainable and inspiring. Instead of the grind of touring and hedonistic night-time activity, Trago has chosen to focus on music-making, alongside semi-regular forays into radio broadcasting (NTS, Radio Radio, BBC Radio and EchoBox). He now spends most of his days producing and remixing at his new SR-3 studio in Alkmaar and his seaside home-come-studio in Bergen aan Zee. As part of these lifestyle and career changes, Trago took time to look deeper, not only inside himself, but also for musical inspiration. Tom has always loved, and devoted time to, digging into a wide variety of production styles, using this inspiration to develop a trademark personal production style, but in recent years he has taken it even further. Fuelled by a desire to challenge himself, Tom consistently tries new things in the studio while channeling all he's learned during a career that has moved forwards at breakneck speed. Since making his debut in 2006, Trago has released six critically acclaimed albums (two of which, the eclectic, beat-focused, career-spanning, Patta-released archive dive, 18, and the dancefloor excursion, Trembala, appeared in 2022); extensively worked with Dutch electronic music institutions Rush Hour and Dekmantel; collaborated with countless friends and contemporaries (Charlie Soul Clap, Awanto 3, Maxi Mill, Steffi, San Proper, Seth Troxler, and BokBok included); remixed artists including New Order, Carl Craig, Cassius, Tiga and Erol Alkan, and championed a swathe of fellow Dutch producers via the Voyage Direct label he founded in 2009. In 2025 Tom returns to legendary Dutch label Magnetron Music, home to Fatima Yamaha, DMX Krew, Legowelt, Staygold and many other, to release his Magnus Opus; Ignorance.

Laseech, a Croatian producer and Cosada label owner with releases on BBE, Lumberjacks In Hell, Red Ember Records, and Forbidden Dance, is continuing a string of excellent releases with Rising Soul. Known for his dedication to house music, Laseech has built an international reputation through collaborations and remixes with some of the genre's most respected architects, including Ron Trent, Patrice Scott, Javonntte, and Dego. "Rising Soul is actually one of the first tracks I did back in 2017 while I was heavily into sampling. I was jamming with my MPC1000, and Rising Soul came up. I never thought that it would become such an effective song that works on the dancefloor every time." Laseech explains. Kez YM, a highly respected Japanese producer and DJ, has been a key figure in the global house music scene for almost two decades. Originally from Chiba and now based in Berlin, his unique approach to house music has led to releases on esteemed labels such as City Fly, Faces Records, Yore, and 4Lux. When describing his version of the track, Kez simply stated: "VIBES." Well, no one will argue with that. The last version comes from Cycle Records' founder Jan Kincl, a prominent Croatian music producer and DJ with releases on labels like BBE, Far Out, Sonar Kollektiv, and Get Physical. "I've been playing Andrej's original for years. He undoubtedly made some good stuff recently, but this one remains among my firm favourites from him. Kez delivered a beautiful version that took it further towards jazz territory, so I decided to make a version that would bridge those two." Jan explains. "I knew we could build a very good record around Rising Soul, with versions that would give DJs different options for different moments during the party. I guess we did a good job because some of the early supporters include DJs from all over the place - Laurent Garnier, Alex Barck from Jazzanova, Marcel Dettmann, Alex Nut (Eglo), Sasse, Chicago's K' Alexi Shelby, Lakuti, Ian Friday and Truncate, among others.

Two Lisbon mainstays from contiguous generations join forces as Scam Dust for the new Paraiso record: Tiago, Lux Fragil resident, world-renowned DJ's DJ and all-round music whizz plus Shcuro, Paraiso's co-founder, scene documenter and impeccable selector & producer. Funnily enough they also live in contiguous beach towns in the outskirts of the capital, Parede and Carcavelos. That's where they zig-zagged amid home-studios and, four hands in various machines, concocted this refreshingly to-the-bone record. Like a non-local entanglement between Lisbon, Sheffield, The Hague and somewhere in the American Midwest, 'Gastric Pulse' EP opens with a saturated, modulated acid line over a tight, industrial-tinged techno beat, peppered with sonic dirt of the highest order. It sounds like music projects like Downwards and Mathematics would put out. 'Enzyme Breaks' follows suit with a comparably raw spirit, adding some mysterious atmospheric scintillation and drum variations. A certain recluse techno (is that a thing?) comes to mind (and heart), Unit Moebius style. Toms abound in 'Pepsin Drive' - always a promising sign in our book - and the playfulness continues in the cheeky bassline and the intricate clap work. Soulful stabs give the tune extra magic via the mantra-like structuring power of repetition. The final track in the record comes from Pacific North-West transplant Doc Sleep and her collaborator Elias FS step in for remix responsibilities and flip the B1 into a hypnotic, dubby - and yes, jazzy - piece complete with a dive into glitchy, sonic sculpture territories towards the end of the arrangement. Quite the brilliant take. Music still counts (and always will), after all is said and done - and nothing like two hard-working music-makers to remind us of that.

The Cosmic LP is an album that is fully part of the history of Italian dance music.
First released in 1984, it is a produc*on signed by SANGY, one of the founders of Italo-dance, who was
responsible for the composi*on, arrangement, and performance as a guitarist and mul*-instrumentalist on
most of the tracks.
Crucial to this project was the collabora*on with DJ Daniele Baldelli, who at the *me was the resident DJ of
the legendary Cosmic club in Lazise (Verona) and is s*ll considered one of the most important Italian DJs.
Collaborators also include the names of Sandy Dian, one of the most sought-a2er sound engineers of the*me, and a debutant M&G, who would later co-sign one of the most iconic Italian disco tracks, "When I Let
You Down," also in collabora*on with Sangy.
The sounds of this album were absolutely revolu*onary for the era because they blended funky, jungle,
Brazilian, disco, and fusion influences in a completely unprecedented way.
For these reasons, the Cosmic LP has remained an iconic piece of interna*onal discography, maintaining its
originality and sonic power intact more than 40 years a2er its first release.

Chat Noir opens its 2025 calendar with the fourth chapter of its hors-série imprint, welcoming a striking new EP from Mariiin, the Italian DJ and producer based in London, previously spotted on labels such as Eya Records and Exarde.
Staying true to her signature sound, Mariiin delivers three exclusive tracks lying somewhere between techno and electro. Dark, powerful and hypnotic, these pieces carry a certain atmospheric tension and depth. Each track unfolds with precision and intensity, confirming her status as one to watch in today’s underground club landscape.
To complete the release, Italian artist Otis offers a compelling reinterpretation of False Memory on the B2. His version closes the EP in the best way, adding his unique twist that elevates the original material.

Indiana Jones never dug this deep.
Church – the brainchild of Joe Washington – were a band both lucky and cursed to come up in the seventies. Lucky, because they rode a wave of community activism, uplifting messages and a moment when music truly mattered. Cursed, because those same times meant their tight, heartfelt output went overlooked.
Mid-sixties to circa 1980 soul and funk were extraordinarily rich. The era’s big releases have aged like fine wine, yet countless hidden gems remain buried. Church’s only single was one of them. Their hypnotic 1976 release “How Long” b/w “Da Da Song” arrived the same year as Stevie Wonder’s Songs in the Key of Life, Marvin Gaye’s I Want You, Diana Ross’s Diana, and at a time when Black mainstream music was shifting toward disco. Church, however, sounded like Sly & The Family Stone in an alternate timeline — gritty, focused, stripped of additives.
“Da Da Song” is pure grits and gravy: furious, tight drums and lyrics that sound like both a plea to DJs to play their record and an insistence to keep the party alive, noticed or not. It cooks from start to finish in just two and a half minutes.
“How Long” is its own universe. Where “Da Da Song” is skeletal, “How Long” blends key strands of Black music in under three minutes: touches of spiritual jazz with a Gary Bartz-like sax, gospel-blues undertones, and echoes of the era’s flower-power-tinged Black creativity — The Undisputed Truth, The Family Stone, even the poetic freedom of Nikki Giovanni. The lyrics are a timeless plea for love.
Church formed in the Bay Area in the early seventies, shaped by the movement, culture and activism of the time. Joseph Washington, based in San Jose, never chased a music career — for him, music was a way to bring people together. Before Church, he led a backing band called Wash, then added gospel singer Linda Williams (née Stephens) and New York–born Joel Como on xylophone to complete the group.
They rehearsed in Joe’s garage, spread through word of mouth and played every gig they could: Black colleges, opening slots for The Whispers, neighbourhood house parties. Some members studied at Nairobi Junior College in East Palo Alto, then a hotbed of Black community activism, with revolution in the air and messages woven naturally into the music.
This single is a message from that era, resurfacing at last — ready to be sampled just as another Joe Washington track, “Look Me in the Eyes”, was on Drake and J. Cole’s “First Person Shooter”. These rare, spirited tunes are begging for new life through samplers, again and again.