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DJ support - Alix Perez, Fracture, Lenzman, Kyle Hall, Doc Scott.

Introducing a new remix EP series from Rosebay Music aiming to connect the dots between soulful D&B and more disparate styles, tempos and scenes - with remixes coming in from a carefully selected group of artists reinterpreting tunes from the catalogue in fresh and unexpected ways.

Detroit’s Kyle Hall has been 1 of the cities main ambassadors of soulful, gritty house & techno over the last 15 years. Here he’s joined by instrumentalist Ian Fink to deliver a classic slice of deep and raw Detroit house music in his remix of Submorphics - Blastoff. This unforeseen linkup between Kyle Hall and Submorphics represents a rare joining of forces between 2 Detroit-born artists who have both repped their hometown’s aesthetic quite heavily in their respective scenes.

Noodles142 is the new alias of D&B star Satl - making fresh bangers fusing UKG, techno, dubstep and bass music in a classic-yet-futuristic way. Here he flips Submorphics - Hey Baby into deep, dark and dubby 140 territory paying homage to middle-of-the-night Detroit grittyness.

Primitive Instinct has quickly become one of the hottest upcoming names in D&B, repping Bristol with ultra-modern production, swinging drums, gorgeous synth work and amazing vocal sample manipulation. His stellar EP on The North Quarter convinced Rosebay to get him to remix Submorphics - Cinerama; and the result is a truly infectious dancefloor weapon.

The final remix comes from one of the current stars of 1985 Music: Trail. Repping the Toulouse D&B scene over the last few years, Trail has a unique knack for melody, harmony and groove that sets him apart from other modern liquid artists. Here he flips Submorphics, Zar & aya dia’s modern classic “Another Level Of Love” into a trippy and experimental heater. A diverse and eclectic selection of remixes from some very intriguing artists each existing in their own lane. Enjoy the ride!

Das weltweit gefeierte Musikphänomen Africa Express ist zurück mit einem brandneuen Studioalbum mit
dem Titel „Africa Express presents... Bahidorá“, das in Mexiko aufgenommen wurde und Künstler und
Musiker aus vier Kontinenten zusammenbringt. Das bahnbrechende Musikkollektiv vereint seit über zwei
Jahrzehnten Künstler aus verschiedenen Ländern und Genres in radikal kreativen Kollaborationen, in denen
alles passieren kann und auch passiert.
Mit der Idee, Künstler aus verschiedenen Kulturen, Genres und Generationen zusammenzubringen, um
aufzutreten und Musik zu machen, wurde Africa Express 2006 mit einer Reise nach Mali gegründet, die die
lokalen Stars Toumani Diabaté, Bassekou Kouyaté und Amadou & Mariam mit Künstlern wie Mitbegründer
Damon Albarn, Martha Wainwright und Fatboy Slim zusammenbrachte.
Jeder Auftritt von Africa Express ist einzigartig, voller spontaner Momente der Magie, Zusammenarbeit
und Entdeckung. Im Jahr 2024 war Africa Express Headliner des Bahidorá-Festivals in Mexiko, einer Reise,
bei der eine außergewöhnliche Gruppe von Musikern, Sängern und DJs aus der ganzen Welt zusammenkam,
um an den Ufern der alten Quellen von Bahidorá zu proben, aufzutreten und neue Musik zu schreiben.
Das Ergebnis ist „Africa Express präsentiert ... Bahidorá“, eine völlig originelle, einmalige Sammlung von
21 Songs, die ein außergewöhnliches Line-up von Talenten aus Mexiko, Südamerika, Afrika, den USA und
Großbritannien präsentiert, darunter:Abou Diarra – Baba Sissoko – Bonobo u.a.

Black Vinyl LP. The world has changed, we shouldn't try and pretend otherwise. While we were shut away in isolation our routines shifted, social patterns evolved, and our hopes and dreams were twisted into cobwebs we're still trying to wipe from our fingers. Ziúr tentatively approached this on her last album Antifate, an ambitious and complex hybrid pop fever dream that looked back to a Medieval escapist fantasy as the scent of revolution seemed to hum in the air. But when restrictions were eased, she found herself staring down a discombobulated society that had trapped itself in a spiral of microwaved nostalgia and detached, narcotic repetition. Eyeroll then is Ziúr's musical panacea, a tincture to wake us from our creative slumber and prompt external connection and reflection. It's a polyphonous hex that demands human interaction, and Ziúr's hand-picked alliance of collaborators - Elvin Brandhi, Abdullah Miniawy, Iceboy Violet, Juliana Huxtable, Ledef, and James Ginzburg - each provide distinct voices that together herald a bewildering sonic epoch. Ziúr's palette had to evolve to match the scope of the project, but it was pure necessity that informed the album's defining tone. Recording mostly at night, Ziúr was conscious of the noise she was making so developed a unique way to record organic percussion. Using a set of rototoms - low profile tunable drums - she scratched, scraped and gently tapped the skins to build up the undulating and unstable rhythmic backdrop for each track. It's the first sound we hear on the opener 'Eyeroll', rattling like lost marbles against Elvin Brandhi's primal croaks and screams. And when Brandhi's twisted articulations form words, Ziúr matches the energy with chaotic thuds and serrated blasts of saturated electronics. "I roll the shittiest cigarette," she squeals like she's about to start a mosh pit at Paris's GRM Studios. Without pause, Abdullah Miniawy takes over on 'Malikan', building on the promise of material with Simo Cell, Carl Gari and HVAD with corrosive trumpet blasts and charged, politically incendiary Arabic vocals. Inspired by pre-Islamic poetry and the Qu'ranic chanters he heard growing up in Saudi Arabia and Egypt, he spins labyrinthine stories that cross between the worlds, breaking down physical and spiritual borders simultaneously. Miniawy's scope is expanded even further on his second collaboration, 'If The City Burns I Will Not Run'. "If it rains and the city drowns," he utters over gaseous electronics, "I will not run away, but I will be anxious for the heart of one close to me." After a supple vocal turn from Manchester's Iceboy Violet on 'Move On' and a surreal interlude from poet- DJ-artist-theorist Juliana Huxtable on '99 Favor Taste', Brandhi returns with two more hyperactive collaborations: ,'Nontrivial Differential' and 'Cut Cut Quote'. On the former she slices into Ziúr's skeletal jazz eruptions, screaming and crooning interchangeably, fluxing between the rap battle and the cabaret. The latter is completely different meanwhile, with Brandhi settling into her role as front-woman and groaning dizzying improvised passages that sound like grunge crossed with psychedelic no-wave. Brandhi's spiky musical history has prepared her well for this collaboration; she's a prolific producer and has been using her voice spontaneously since debuting with father-daughter improv duo Yeah You in the mid 2020s. She's found an ideal foil in Ziúr, a producer who matches her restless energy and willingness to bend formality, and leaves an indelible mark on Eyeroll. But the album's most tender moments are from Ziúr herself, who winds the album down on 'Hasty Revisionism', growling over collapsible beats and cascading strings, and comes to an unexpected conclusion with country coda 'Lacrymaturity'. Its feverish amalgamation of country music and euphoric, experimental electronics might seem incongruous at first, but in context with the rest of the album is the only possible conclusion. With Eyeroll Ziúr is making a firm statement about togetherness, humanity, and the renewal of hope when all seems lost. By bringing together such a wide but philosophically harmonic team of collaborators, she's conducted a body of work that speaks to the creative fringe in no uncertain terms. Now's the time to throw away what you think you know, and build bridges you didn't think you need. Now's the time for action. She may have spent her entire career avoiding the solipsistic trappings of "queer art", but by assembling a communal statement that questions so many normative assumptions about music, politics, and beyond, Ziúr has chanced upon her queerest album yet. Cringe? Eyeroll.

Transitioning from the successful 2 Years EP (O Sótão Records, 2023), Tiago Fonseca became an up and coming Producer and DJ based between Lisbon and Porto. On the back of gigs at some of the best clubs in the country, he also transitions from Tiago A.F. to TGZ (sounding Tigz) as his moniker for what’s to come ahead. Long Shape, his latest project, is O Sótão’s first vinyl release, and the first to be delivered with higher standards of professionalism. Learning the trade, the processes, the timeframes, the costs, and having just completed 10 years of existence. A good time to go a bit deeper.

In the summer, Tiago sent me a golden playlist of unfinished projects for a second opinion. The idea for a new record started there, and from the bunch we handpicked a selection that ended up making really a lot of sense for us. We were looking for wet deepness and eternal warm ups, pulling up the fader slowly. An invitation to leave our mental capsules and divert attention towards a seductive bassline cliff-hanging a dream. Progressiveness and jazz. Long shapes and melodies in the last frontier between nostalgia and hope.

To help, we invited Miguel Tenreiro (a.k.a. Gazpa) to master the tracks, with him adding a smooth-extra-delicious pump on the beautiful original elements. Miguel also picked up the title-track for a remix treatment, breaking up the tempo with a hip-hop-electronica finale, sprinkled by a guitar solo from Zé Nuno - another great musician stemming from Mr. Bean’s bar, where we held a residency for the past year.

Long Shape will drop on March 21st. Vinyls might be only available a bit later. It will be a landmark moment for us, being Tiago’s most complete work to date, and a better representation of his rich musical influences, expanding it, as we speak, to another level. It’s also been 10 years for O Sótão, so there’s that too. To sum up, I’m just very glad that Long Shape sounds exactly where we would like to be after all this time, with a quick image of a nite-lit skyscraper cutting into a couple of rocks being dropped in the coolest whiskey glass, and the people warming up to a dream.

Edition of 100 Vinyl 12’’, Cover 3mm spine

Emotional Rescue completes the series of non-defined reissues where the label licenses an all-time favourite, remasters and then reappraised with new interpretations by contemporary producers for today’s collectors.

After the series started back in 2019 with Hawkwind’s sprawling psychedelic electronics, featuring deep drone mixes by the esteemed digger Cherrystones (ERC074), the bouncing cosmic-Balearics of Thomas Leer with wonderful reworkings by friend and producer Bullion (ERC075) and then the post punk dubs of The Embrace and Timothy J Faiplay’s brooding italo-dub excursions (ERC076), there was always one artist and producer left out. Finally, then the percussive excursion of the early 80s band The Impossible Dreamers and their cult B side jam, Spin, coming with 9 minutes percussion-dub extravaganza of an extended reversion, plus a dub heavy reprise, by label go-to Dan Tyler (Idjut Boys /Noid), under his NAD moniker.

Started by a group of friends while at Exeter University that centered around Caroline Radcliffe, James Hood, Justin Adams and Nick Waterhouse, their debut 12” record is one of just three on the 100 Things To Do label. The other two releases have already been covered with the Hamburger All Stars ‘Swinging London’ 12” (ERC114) of 2022.

Recorded before the move to West London, ‘Life On Earth’ was a raw post punk vocal pop cut, with influences of dub, funk, hip-hop and African music shining through, there were in their own words, “young music fans starting out, with no agenda”.

However, it was on the B side that things got interesting. Enamored by the growing trend of extended 12” singles, they decided, with the A side wrapped up, to have some studio experimentation by recording a drumming jam, with all the members playing percussion, followed by some overdubbing. Memories are hazy, but at the time the band was an 8-piece, so the results a chaotic explosion, capturing the essence of that time. Featuring Nick and James on 4 hand piano, plus Caroline on Oboe, with some additional hollering and wooping vocals, Spin was a 5-minute burst of energy.

In effect, self-released in 1982, the band didn’t expect much to come of it, but the 12” acted as a calling card leading them to London and later signing for RCA. At the same time, Spin was being discovered in the early eighties alternative club world. On a trip to New York, the track was heard being played Downtown, and on enquiring it was discovered the DJ was playing a 7” that was never an official release but cut in the US solely for the club DJs there.

Its resonance extended further, to Italy and the Cosmic club of the resident, an ever-searching Danielle Baldelli, before being picked up a few years later by a young Andrew Weatherall during his pursuit of an alternative “Balearic” beat during the late eighties Summers of Love and has even recently received the Joe Clausell edit treatment back again in NYC.

For the remake to fit the label series, it was only right to ask label friend Dan Tyler to do what he does so well, putting the original through his array of dub machines and pedals, extending and cutting with aplomb to create an incendiary ‘Reversion’ that will send dancefloors literally in a spin. Teasing the percussion incandescent, looping and teasing, the piano held back before finally releasing in a haze of dub effects.

This is followed by the ‘Riddim Reprise’. Working with London based drummer Matt Bruce (Claptrap), this is the perfect DJ tool, taking the original idea of the band, to just jam see what happens, twisting it full of space echo and reverb, to offer a perfect 12” Extended Mix.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

A new album, a new era for Adam Beyer and his music. The revered Swedish producer, DJ, and label head of Drumcode and Truesoul has consistently pushed the boundaries of techno in his own 30+ years of releases, while his imprints have launched many new artists and boosted the clout of major stars.

‘Explorer Vol. 1’ see's Adam Beyer showcasing his inspiration from his whole past creative journey whilst continuing to explore different sounds and new genres. It reflects permutations of Adam’s headspace and who he is, celebrating his personal interests and influences including in sci-fi, both musically and visually. A new age for Adam Beyer, after a prolific slew of superb EPs, singles and collabs which have spanned 20 years since his last LP.

The official soundtrack to Jean-Cosme Delaloye's documentary about the life and career of Detroit techno pioneer Carl Craig, Desire: The Carl Craig Story is set for release on digital platforms on 20th June 2025, with 2x12” Vinyl and CD editions to follow on 18th July 2025.

The collection, coming via his prolific and seminal Planet E Communications, features music from across Craig’s vast catalog, including several tracks that have never previously seen full digital release. Its selections span his many aliases and projects, offering a rare glimpse into the full scope of his groundbreaking career. rare glimpse into the full scope of his groundbreaking career.

Among the rare and remastered tracks featured is No More Words - originally released in 1991, newly reissued on vinyl and available digitally for the first time. A foundational track in the Detroit techno canon, No More Words captures the emotive synths and tight grooves of Craig’s sound that would soon resonate across dance floors worldwide. Its reissue marks a moment of reflection on the genre’s roots and evolution.

Another remastered track from Craig’s extensive archive is The Truth, a deep cut from Craig’s discography under his Designer Music alias, now widely available for the first time a quarter-century after its original release. The film’s end credits are scored by the contemplative Meditation 4, an ambient production previously only available on Craig's 2013 Masterpiece compilation CD for Ministry of Sound.

Iconic remixes such as his Grammy-nominated rework of Junior Boys’ Like A Child is included alongside lesser-known but equally epic remixes such as his sublime 2012 mix of Slam’s Azure, which is employed for the film’s title credits and had previously only seen a limited release. Also featured across the soundtrack’s multiple formats are iconic Carl Craig productions under his 69, Psyche/BFC and Innerzone Orchestra aliases, and collaborations with Moritz von Oswald and Francesco Tristano. Oswald and Francesco Tristano.

The soundtrack serves as a companion to the new documentary directed by Jean-Cosme Delaloye and produced by Sovereign Films, which follows Carl’s journey from Detroit’s middle-class roots to global stardom, set against the city’s decline and recovery. The film explores his work at the intersection of music, art, and culture, from his collaborations with Bottega Veneta to his Party/After-Party installation, acquired by the Detroit Institute of Arts and exhibited at MOCA Los Angeles. MOCA Los Angeles.

Featuring interviews with Gilles Peterson, Roni Size, Laurent Garnier, DJ Minx, Kenny Larkin, Moritz von Oswald, and James Lavelle, Desire highlights Carl’s championing of Detroit’s Black creative excellence and the often-overlooked African-American roots of electronic music.

Toy Tonics ITALOMANIA Vol. 3 is a compilation dedicated to NEW ITALIAN DISCO. (Not Italo Disco.) 14 young contemporary Italian producers made new organic disco, indie dance, pop house tracks with Italian vocals. Everything on this compilation has been produced in 2024. Fresh dance music by Italian artists Paul Older, Riva Starr, Valentino Vivace, Sam Ruffillo & Fimiani, Kymono, Mille Punti, Mind Enterprises, Bruno Belissimo and legendary cosmic disco pioneer Daniele Baldelli + french italo hitmakers Dov'e Liana. The ITALOMANIA compilation was initiated by Toy Tonics boss Kapote. Italo-German producer, DJ, keyboarder and head of Toy Tonics and Gomma records. ITALOAMNIA is a MANIFESTO to show the status of Italian Disco of today. Kapote invited the most relevant Italian producers to make new tracks with Italian vocals and show different styles of modern Italian disco with Italian vocals.

Italian Disco is not Italo Disco. The last years the trashy pop music of the 1980’s called Italo Disco (with English lyrics) had a big revival. But this compilation is about something else: It’s about this Italian Disco. Because the popularity of good Italian pop music is rising all over the world. And Toy Tonics want to show a new way to combine Italianity with dance culture. Its funny that also in France, Swiss and Germany there are new artists singing in Italian. Let’s not forget: The culture of party, dancing, show bizness and pop music would be unimaginable without the heritage and creativity that Italians contributed Italy is not just the country of good food, beaches and high fashion, but it’s also the original country of dance music. Since the ancient roman times the Italians have been the kings of entertainment. And if it comes to music; The DISCO wave of the 1970ies and the Pop music of the 1980ies has been co-created by Italians (and Italoamericans in New York).

Die international gefeierte Harfenistin Alina Bzhezhinska und der auf Ibiza lebende Produzent Tulshi präsentieren ihr gemeinsames Album "Whispers Of Rain", Alinas Einstand bei Tru Thoughts. Das Album befasst sich mit der Architektur von Erinnerungen und menschlichen Emotionen und nutzt Regen als zentrale Metapher für die Zyklen des Lebens: die Reinigung von Verlust, das Aufblühen von Erneuerung und die tiefe innere Stärke, die in Momenten gelassener Selbstbesinnung entsteht. Als Komponistin, Bandleaderin und Kollaborateurin arbeitete Bzhezhinska mit Legenden wie Brian Jackson, Chaka Khan, Shabaka Hutchings, DJ Spinna und Slide Johnson zusammen. Ihr HipHarpCollective wurde bei den Parliamentary Jazz Awards 2024 zum besten Ensemble des Jahres gekürt, ihr von der Kritik gefeiertes Doppelalbum "Reflections" (BBE) wurde von Presto Music als bestes Album 2023 ausgezeichnet.

Straight from the lowlands. Holland House delivers four floor-ready jams from Dutch producers keeping it raw, rolling, and real. Bumpin’ drums, deep basslines, and heads-down grooves built for the basement. No filler — just proper underground heat, Dutch style.

The latest hype from the Will & Ink cult is the Ottagone series. Over the past couple of months, the ever-prolific techno imprint has started dropping unannounced batches of no-nonsense, dancefloor-oriented techno grooves. Dub-heavy and club-ready, the full series is a goldmine for passionate techno DJs -- but until now... digital only. On the Ottagone Selected series, the most wanted tracks are pressed on vinyl for the first time. Essential techno gear for DJs who like to groove.

Vacation Records finally lives up to its name — after years of throwing parties and pushing wax across Indonesia, the collective-turned-store-turned-label now drops its first official 12". VAC001 is here, and it's a punchy four-tracker pressed to vinyl and primed for peak time.

Side A is helmed by label head Angga, who delivers two tightly-wound cuts: the tough, acidic stinger ‘Failed System’, followed by the psychedelic and hypnotic builder ‘Extension’. These tracks channel Angga’s ear for raw basslines and left-of-centre rave magic, honed over years behind the decks across Indonesia.
Flip to Side B and Seoul’s Jesse You takes the controls. Kicking off with ‘Cherry Lights’, a pulsating ride for strobe-lit hours, Jesse then closes the record with ‘DJR’, showing off his knack for bending sonic layers without breaking the groove.

What started in 2022 as a simple mission — bringing electronic music’s vinyl culture closer to home rather than waiting for overseas digs — has grown into something much bigger. Now, with VAC001, Vacation Records cements its place as a platform connecting Indonesia’s scene with the rest of the world, one release at a time.

Gilles Peterson presents International Anthem is a compilation chronicling the legendary London-based radio host, DJ, label head, curator and cultural impresario"s long-standing affinity for and interaction with artists and music from the Chicago-born record label International Anthem. The tracks on this compilation were chosen by Peterson via an extensive review of track lists from his broadcasts on BBC Radio 6 Music, Worldwide FM, and various syndicated radio programs. The compilation also includes a previously unreleased track recorded live on the Peterson-founded online radio station Worldwide FM. This album is released via International Anthem as part of their "IA11" series of releases and events - where the label celebrates their eleventh year of existence by looking back on their first ten years while establishing new standards for the next ten years.

This is the second release that DJ Diplomat made all the way back in the early 90’s. His first release was repressed by Vinyl Fanatiks in 2019. This second repress we are doing for him was originally recorded in 1993 and engineered by Secret Squirrel AKA Hellfish who went on to create the Deathchant label in 1997, a label which Diplomat also recorded for. He was also responsible for the mega mixes on the Street Sounds electro series when it was relaunched in the noughties.

Enthused by the support his first repress received Will Diplomat decided to get back into the studio and start making fresh hardcore that sounded like it was made back in the day for the Vinyl Fanatiks sister label Amen Brother. His first release sold out many moons ago but his collab with former partner in the old 1993 hardcore group NARC (DJ Beagle) under the name Diplomat & Beagle is still in stock via Sequence.

Now check his examples of many samples!

EGO IN MIAMI 2025 comes to life by showcasing current music trends through the most hyped EGO
tracks of the moment. Not only: it represents the beginning of the annual series of compilations signed
EGO, as a tradition for ten years. Again this year, at the Miami Winter Music Conference, we have
selected several tracks that will count down with you, accompanying you to the start of one of the most
anticipated EDM events of the year. The MMW brings together thousands of professionals and
enthusiasts who will participate in a series of events in Miami, concluding with the iconic “Ultra Music
Festival”.

The selection presented this year reflects current musical trends. Established names like TR3NACRIA,
Cecilia Krull and Tommy Vee with the talented emerging Defreeze, Bohemoon and just a boy, the great
returns of Sapienza, Solarys and Bacon Popper. The energy of Berin, the good vibes of Roberto Tropea
and the euphoric productions of Ema Feud and B-Rain. The ensemble takes place through the extended
version braid that creates a collection usable by both EDM fans and professionals: DJs and producers.

Chocolat is the 2000 British-American romantic comedy-drama film directed by Lasse Hallström (The Cider House Rules) starring Juliette Binoche, Judi Dench and Johnny Depp. The film’s enchanting atmosphere is brought to life by the original score from Academy Award-winning composer Rachel Portman. The soundtrack features “Minor Swing” by Django Reinhardt and Stéphane Grappelli, and “Caravan”, the 1936 jazz standard by Duke Ellington and Juan Tizol. The soundtrack was nominated for an Academy Award, next to the four other Oscar nominations.

Chocolat is available as a 25th anniversary edition of 750 numbered copies on mint chocolate marbled vinyl and includes an insert.

Since first forming in 2016, London's High Vis have steadily polished their palette of progressive hardcore with shades of post-punk, Brit pop, neo-psychedelia, and even Madchester groove, mapping a middle ground between hooks and fury, melodies and mosh pits. Singer Graham Sayle describes their third album 'Guided Tour' as an axis of competing forces: "It's trying to be a hopeful record, while also being incensed." Rounded out by drummer Edward 'Ski' Harper, guitarists Martin MacNamara and Rob Hammaren, and bassist Jack Muncaster, the band's deep roots in the UK and Irish DIY hardcore scenes have kept them grounded but growing, inspired equally by restlessness and righteous anger. As Sayle puts it, "Everyone's scratching, everyone's working all the time, and their idea of relaxing is just getting fucked and avoiding reality. This album is an escape from that."From its opening seconds of a cab door slamming, a car revving away, and a baggy rhythm swinging to life, 'Guided Tour' sounds like a band reaching for new heights, bristling with energy. Recorded across a few weeks at Holy Mountain Studios in London with producer Jonah Falco and engineer Stanley Gravett, the results feel dynamic and dialed-in, like anthems burned into sense memory through sweat and repetition. Harper cuts to the chase: "We had a clear idea going in, every moment got used. Maybe when we're 60 we can sit around and get a drum sound right, but for now it's about getting things done."The album's 11 songs span the spectrum of contemporary guitar music, sharpened by experience, camaraderie, and societal frustrations. From swaggering street punk ("Drop Me Out," "Mob DLA") to jangling indie sneer ("Worth The Wait," "Deserve It") to heavy alt ("Feeling Bless," "Fill The Gap") to shoegazey spoken word ("Untethered"), the group's chemistry transmutes any style to their unique intensity. Sayle champions this evolving fusion: "For years coming from hardcore, we had pretty clear boundaries - other scenes were separate worlds. Now things are getting more blended, drawing from different places."Nowhere is this sentiment flexed more boldly than on "Mind's A Lie," a dance- punk anthem inspired by Harper's love of house, garage, and pirate radio. Stabs of sampled female vocals (by celebrated South London singer and DJ Ell Murphy) build into a razor wire rhythm of low-slung bass, tense drums, and sparkling guitar before Sayle's staunch voice starts barking harsh truths ("Face to face with all I've known / I can't call these thoughts my own"). After a sudden breakdown, the track regroups and takes off, cruising into the horizon in a haze of chiming guitars and Murphy's ascendant voice, from the streets to somewhere beyond.

LDF (Lello Di Franco) makes a powerful return to Skylax, this time teaming up with Detroit's own Javonntte. Following his stellar release with Gari Romalis, LDF delivers a release that is pure gold for fans of the original Detroit sound. If you appreciate the styles of Moodymann, Theo Parrish, or Omar S, this record is bound to resonate deeply. The EP opens with "Disco One (All Night Long)," a groove-heavy track that embodies the essence of classic Detroit house. It pulses with soulful basslines and infectious rhythms, setting a hypnotic tone that's perfect for late-night sessions. "Saved" ventures into Chicago acid territory, a tribute to the raw, driving energy of classic acid house. With its punchy 303 basslines and tight, snappy percussion, it channels the best of Chicago's underground with a fresh, modern edge. "After Midnight" offers a smooth, after-hours vibe, balancing deep, jazzy chords with a pulsating rhythm that keeps the energy simmering. It's a track that brings warmth and intimacy, ideal for closing sets or introspective moments. "Martha" is a lush, emotionally rich track that embodies LDF's Italian roots while staying grounded in Detroit's heritage. With warm melodies and a rolling bassline, it delivers a balance between soulful warmth and a classic dancefloor feel. "Love Anthem" is a heartfelt groove, merging lush pads and laid-back percussion with a sense of nostalgic euphoria. It's a track that brings people together, a true love letter to house music. "People From Mars" pays homage to Omar S, with its stripped-down, gritty approach. The track has a rough, analog feel, capturing the raw energy and spirit of Detroit's underground. Finally, "The Dirty Digital Show" closes the EP on an intense note, with a driving rhythm and futuristic soundscapes. As an Italian DJ and producer from Naples, LDF brings his decades of experience—starting from his early inspirations in house and techno in 1993—into this record. Also, as co-owner of Frole Records and co-founder of Basic Frame Distribution, his knowledge of the scene is profound, and it's reflected in each meticulously crafted track. This release is a testament to the timelessness and diversity of house music.

Artwork done by legendary french cult designer H5 (Daft Punk, Air, Etienne de Crecy …)