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In 2001, Shin’ichi Ogawa of Sugar Plant was working for the SAL Disc record label and came up with the idea of doing an E2-E4 tribute album with his friends. This album would come off the back of a Neil Young tribute album which might have seemed odd but these two artists, Neil Young and Ashra (Manuel Göttsching), would be played regularly as equals at after-parties that Shini’ichi would throw at his house. Longtime friend and collaborator, Taro Yoda, noted that the eclecticism of these after-parties were influenced by the variety of parties they were attending at the time, from the legendary Japanese open-air rave party Life Force to Cream at Amnesia in Ibiza. Taro was obsessed with European trance and left-field downtempo while the two members of Sugar Plant were into ’70s soul—especially Marvin Gaye and William DeVaughn and at the same time, they were listening to Phish and the Grateful Dead too. All three of them were of course inspired by the DJ’ing and selections of Larry Levan.

A- Side – Sugar Plant – “Just Be There” – Production began in my home studio. Since I was frequently attending a house party called “Life Force” (with DJ Nick the Record as the resident DJ) at the time, I thought deep house would be the perfect style for a Sugar Plant cover.
I looped a two-chord electric piano track and applied filters using plugins and outboard gear to create a “sound I could listen to forever.” I recorded the bass on guitar and converted it to an analog synth (Doepfer MS-404).

From there, I layered synths improvisationally, listening to the track over and over again to make fine adjustments. I think I worked on it for days, mostly late at night.
I recorded the guitar at the very end of the track. After playing it a few times ad lib without any set plan, I suddenly had the idea to add vocals during the bridge, so I set up a mic in my hallway and recorded them.

I think this track is packed with the emotions I felt when listening to “E2-E4” back then, as well as the vibe I experienced at that party. – Shin’ichi Ogawa

''Boo Williams - Galaxy House EP (Island Life Records) Island Life Records proudly welcomes Chicago house music icon Boo Williams with the Galaxy House EP, a powerful collection that bridges timeless underground house music with fresh contemporary reinterpretations. Leading the release are three original Boo Williams productions: the deep, groove-laden title track ''Galaxy House'', the soulful ''Need Yo Luv Tonite'', and the driving club workout ''House Me Up''--showcasing the unmistakable sound that has made Boo one of Chicago's most respected producers. The EP is completed by a quality selection of remixes. DJ Entropic delivers two contrasting takes on ''Need Yo Luv Tonite'' with a rave-fuelled Hardcore Mix and the darker, hypnotic Skeleton Mix, while Island Life label boss Garry Todd, under his Clouds of Kouros alias, reimagines ''Galaxy House'' with a deep, atmospheric interpretation that perfectly complements the originals. The whole EP blends authentic Chicago house heritage with forward-thinking club energy, the Galaxy House EP is another essential release from Island Life Records crew.''

Bondage-Music proudly welcomes back Markus Homm with his latest vinyl EP, "It's Safe To Say." Continuing his long-standing relationship with the label, Homm once again delivers the warm grooves, crisp rhythms, and unmistakable dancefloor sensibility that have become his trademark.
Across four carefully crafted tracks, Markus Homm combines rolling basslines, soulful vocal touches, and refined house grooves with subtle techno influences. From the infectious swing of "My Alibi" and the driving title track "It's Safe To Say" to the soulful energy of "I Got All This Love For You" and the hypnotic flow of "Rush," the EP is built for both peak-time club moments and extended listening sessions.
As a special treat for vinyl collectors and DJs, two exclusive tracks are available on vinyl only, continuing Bondage-Music's tradition of offering unique content for the format.

There is an important difference between "mature" club vibes (leather porkpie hats) and "adult" club vibes (a post-ego-death experience of the world through the eyes of an Eames chair). Extrawelt's Jamborghini EP exemplifies the latter in ways that extend beyond sophisticated wordplay*. Well beyond.

Sophisticated electro-techno hybrids occupy an incredibly dangerous space. One false move and you corner listeners into an unsolicited conversation about "gain staging." The four tracks on the vinyl EP thread the needle in thrilling fashion, and then use that needle to stab at the sweet spot between sentient cell tower admin software vibes and the kind of architecture hot people like.

And with the digital exclusives, we've once again saved you from the depths of "bonus beats" hell by supplying three tracks that are as good as anything that has ever been pressed to vinyl. If your knee-jerk reaction is to doubt this, we would simply point out you haven't even heard them yet, and here you are talking shit. Go push your hateful agenda somewhere else.

Extrawelt are fast becoming a Turbo Recordings staple, and don't think the globalist EDM cabal hasn't taken notice. Jamborghini has already received heavy DJ support from Jumpin' Josh Junior, Monoburglar, Now or Never, Tiga, Never Say Never, Rumpled Glory, Moment of Truth, and the Hamburg Chamber of Commerce.

*Our best guess is that the title is meant to evoke a Lamborghini you can have a musical "jam session" in, and not the striking metallic purple Diablo SE30 driven by Jamiroquai frontman Jay Kay in the 1996 video for "Cosmic Girl."

Dj Ultramars hasn't released many tracks altogether, and since 2024 he is again too busy to release everybody else's music on his label to find the time to compose more music, but many of his previous tracks are still relevant today, still pleasing party audiences in as much as when first released, and it's been too many years that those tunes have been proposed new on vinyl, so time for a recut & repress.
Here we have:

A1: Cab Carlco, the biggest hit of Dj Utramars, originally released on Mars Picture 1 (1999) as well as Toolbox Killerz 25 (2015), so 11 years since its last (limited) release !
Very uplifiting / very "in your face" kind of track, always & eversince so efficient on the dancefloor.
A2: Ennui (voicemix), originally released on Mars Picture 2 (2003), 23 years ago! (what a round number...). A track that will hypnotize you with its female vocals playing with the echo, yet runnin steady on a heavy deep bass & enough arrangements to not get bored of it: every Mars Assault is designed as a record to DJ as much as a record to listen to.
This track is cut in 45rpm to keep optimal quality until the end of the side.

We had to put some of the best two tracks of Dj Ultramars on the music side since the flip side is a laser etched side ! After we had released the two first picture discs, our current pressing partner was giving the possibility for a laser etched record, so here is the Mars Picture 3 ! See the picture of B-side above.


200 copies limited in this laser etched pressing.
Cut with Hervé @ dK mastering

A Project dealing with the relative length of time at a record label and the effect of adding another zero. To explore this passage of time and all those memories, we’ve commissioned remixes of key tracks from the LEX catalog by artists we love and admire. The album features contributions from Danger Mouse & Jemini, Fly Anakin & Pink Siifu, Eyedress, Golden Rules featuring Yasiin Bey and Freddie Gibbs, Neon Neon feat. Cate Le Bon, alongside Kaleida, Belief, Nevermen, Prince Po and MF DOOM. With remixes that reinterpret the tracks by Boards of Canada, Kevin Shields of My Bloody Valentine, DJ Premier, Prefuse 73, Madlib, Stereolab, Warpaint, King Krule, Chad Hugo and Thom Yorke. The limited edition physical release is presented in a rigid slipcase, with the vinyl housed in a triple sleeve gatefold, and accompanied by a large format board book, with both featuring artwork by Commission Studios. The records are pressed on 180g heavyweight vinyl, with the D-Side finished with a bespoke etched design.

Just featured on BBC6 Music in the CRAIG CHARLES FUNK & SOUL as part of the ODDBALL CREATIVES “Trunk of Funk Mix “ on Saturday 1st August - and already gaining great DJ feedback from the likes of Greg Caz, Laurent Garnier, Chris Bangs, Rocky, Chico Malo, Starla Recordings and many more ….

Another new collaboration on the Echo Labs label - the subsidiary of Echo Chamber Recordings set up to release tracks and remixes from other artists.

This one is a very special hook-up with Daniel Walls & Joseph Malik in Edinburgh with their new project under their “Oddball Creatives” production monicker. It was truly an honour that they reached out to Echo Chamber Recordings to bring this out on a vinyl 45 , fitting in perfectly with the foundation sounds of the label - combining classic timeless funk, jazz , Latin and soul with 21st Century production techniques

They have recruited the vocal talents of Philadelphia’s Kameela Waheed and the instrumental skills of Scottish jazz legend Colin Steele , to bring us the sound of the summer with a huge soul-jazz-funk cut. It combines elements of a classic early 70s groove with a subtle, up-to-date style, built around Joseph’s vocals and Kameela’s spoken rap.

On the flip you get the purely instrumental take - meaning you could extend the hypnotic groove even longer with two copies !

As ever, on Echo Labs there will be just 300 vinyl copies pressed for worldwide distribution

Joaquin ‘Joe’ Claussell returns to the Spring Revisited project, and he delivers another jazz-infused house mix of a classic funk track by the iconic Fatback Band. Spring Revisited is collaborative project between Ace Records and Acid Jazz, inviting influential house music producers to reinterpret classic tracks from seminal New York label Spring Records, a pioneer in funk, soul and disco. After a series of sell-out and chart-topping 12” and 7” releases, as well as a 2LP compilation, the project continues with these two new mixes of the Fatback Band’s ‘(Do The) Spanish Hustle)’. Claussell combines the original classic funk elements with Latino percussion and samba-styled trumpets.

First up is his 'Sacred Rhythm Version’, which lifts the tempo and loops a section of the original's percussion. Keeping the trumpets, and soulful vocal phrases, he adds a DJ-friendly kick drum and shows off his improvisation skills with a vibrant synth line. On the flip, he strips back some of the drums and horns and focuses on the bassline with the 'Spanish Harlem Dub,' which is a moody rework utilising some funk-infused organ chords. On the original track Joe says: "I can vividly recall the very first time I heard Spanish Hustle blasting through my brother Jackie’s stereo system. Not long afterward, I experienced its energy again on the dance floor at a discotheque known as The Inferno, where it was masterfully delivered by the legendary René Hewitt. The record left an imprint on my spirit that never faded.’ A spectacular continuation of the series, presented in the nowsignature Spring Revisited housebag, resembling an original worn-in promotional 12”, pressed in a strictly limited run!

Anjunadeep Explorations delivers a third vinyl sampler, marking the label’s 100th release and two years since its launch. Anjunadeep, the imprint’s parent label, has become “one of dance music’s ultimate tastemaker labels” (Billboard), best known for breaking global artists like Ben Böhmer, Lane 8, Tinlicker and Dusky. The ‘Explorations’ imprint is an evolution of the much-loved Various Artist EP series of the same name, which spanned 25 editions between 2016-2023 on Anjunadeep. Responsible for bringing through now-mainstay acts to the label such as Ben Böhmer, CRi, Luttrell, Rezident and Simon Doty, the series also featured underground talents like Theo Kottis, Sam Goku and Gacha Bakradze. Between the label’s launch in July 2024 and the release of this sampler, the label has introduced just under 50 acts to the Anjunadeep label group, comprising just shy of half of the label’s output so far, and with a release schedule booked until 2027 shows no signs of slowing down.

The latest vinyl sampler features six exciting tracks showcasing fresh talent like British duo josh & sam who are twins and Argentina’s Rossie, alongside established names including the widely-respected lo-fi producer dj poolboi. In keeping with the imprint’s ethos, the product also sees three further label debuts from AFFKT, foglight and Giom respectively hailing from Spain, Lebanon and France

Techno innovator Regent has already made his mark on Mutual Rytm with two previous outings highlighting his refined but powerful style. The Berlin-based artist joins the dots between bold percussive grooves and distinct cerebral layers, with his productions continuing to receive wide support from DJs and tastemakers across the globe. This return to SHDW's flourishing label features one of his most anticipated tracks to date - a truly timeless warehouse anthem that marks an exciting new chapter for both Regent and the label.

'Permean' is a raw but sophisticated piece of techno that merges powerful drums with hypnotic pads. It brims with surgical sound design. While the groove is fierce, a haunting melodic touch adds a soft and deeply emotional edge
as Regent explores the tension between permanence and decay, delivering a timeless and essential track.

The first remix comes from Steve Rachmad under his Sterac guise. This version channels the spirit of his early work - pure, stripped-back techno at its finest. Tightly programmed and deep, it features burrowing bass and impish synths dancing up top to occupy the mind while the body moves.

Next comes a remix from one of the most innovative producers of our time, Rene Pawlowitz, under his Head High alias, a project reserved for his more house leaning sounds. His 'Power Tool Mix' brings his signature loopy style with thudding kicks, raw hi-hats and twitchy synths - already shaping up to be a summer hit. Pawlowitz then steps out under his renowned techno alias Shed. His 'Forceful Pressure Mix' is a blistering and unrelenting weapon, with rusty textures and powerful bass locking you in its glitches, unresolved loops and booming low end.

2026 Repress

Berlin’s Phil Berg, one of techno’s most distinctive rising names, debuts on Mutual Rytm with his ‘Dārin’ EP. First invited as the debut guest DJ for Mutual Rytm’s inaugural label night back in 2022, Berlin’s Phil Berg has maintained a close relationship with the imprint ever since. Known for his shadowy, immersive sound, Berg has carved out a singular position within the scene - equally respected for his high-impact DJ sets, his improvisational live performances, and a production style defined by clarity, tension, and a deeply recognisable sonic identity. While his live shows remain a vital part of his artistic DNA, often shaping the raw ideas that later evolve in the studio, his work extends far beyond the club floor, marking him out as a fully formed and increasingly essential voice in contemporary techno. That connection between stage and studio is fully realised on ‘Dārin’, where Berg delivers a darker, more driving statement for his Mutual Rytm debut, with the title track already becoming a standout in the sets of label founder SHDW. The title cut opens the EP with great urgency, as flaming drums and machine-gun synths are fired across the night sky, with sensuous whispers and sonar pulses adding the pull of the groove. Next, ‘Tempest’ brings big, banging hits, nailing down the kicks while rising tension appears through the backlit synths and distant bass rumbles. ‘Tanoo’ releases the pressure with a more luminous synth line that locks you in a trance as linear drums race on, while ‘Mephisto’ keeps you on edge with twitchy motifs and a burrowing bassline that drills down deep into a moody underworld. The EP closes with ‘Destiny Bond’, which rises with undulating, tactile lines, sleek synth smears, and a cosmic sense of travel. As digital bonus cuts, ‘Seiko’ and ‘Nyx’ bring anxiety and foreboding to the fore with two more muscular and physical deep techno hitters crafted for maximum impact.

offerings is a new project from Bruno Silva (Ondness, Serpente) and Gonçalo F. Cardoso (Lagoss, Prophetas, Hannibal Chew III).

Born from a shared obsession with the peripheral—rain puddles, empty city spaces and the flickering crawl of late-night credits—the album occupies a stalled threshold; a space that refuses to resolve into a clear image. It does not strive for the "new" nor the "old"; it exists in a state of suspension, like end credits that refuse to roll, fixed in a permanent noumenal state.

Composed through a frantic exchange of files during the stormy winter of 2026, End Credits Noumena functions as a document of inner domestic spaces. It captures a floating, jam-like camaraderie between two artists with shared fixations and divergent sound palettes. The result is gritty and acetic — a series of random, eerie transmissions that remain strangely inviting. These are offerings, left over for whoever chooses to claim them.

The second chapter of The Third Room's curator-led series is shaped by D.Dan, one of the defining voices of a new generation pushing techno into sharper, more forward-leaning territory. Through his productions, DJ sets and close ties to an emerging network of artists, he has helped shape a sound defined by precision, intensity and subtle experimentation. For his curation, the focus lies on collaboration and alignment. Rather than presenting a wide spectrum, the release draws a tight circle around a shared sound: one defined by contrast and a strong sense of aesthetic cohesion. D.Dan's Bound sets the tone: reduced, warm and controlled, balancing sharp accents with a steady, grounding low-end. On Dynamic, Rene Wise delivers a record's standout moment: a fluid, rolling tool shaped by subtle disruptions and evolving tension. Slither by Connor Wall expands into a more trippy, forward-facing space, while Gensou by Sunju Hargun & DJ MARIA. closes on a fresh, detailed take on acid - understated but effective. Across all four tracks, the release feels tightly unified - less like a compilation, more like a single body of work shaped from a shared sonic language. Contrast plays a central role: between tension and warmth, control and surprise, functionality and detail. Cohesive and focused, the record feels carved from a single aesthetic, where contrast and small, unexpected shifts drive its momentum. Copyright 2026 The Third Room A1 Written and Produced by Theodore Su-Ahn Shin | A2 Written and Produced by Andrew Shobeiri | B1 Written and Produced by Connor Wall | B2 Written and Produced by Sunju Hargun & DJ MARIA. Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Franc Fala & Benja land Crosstown Rebels debut with hypnotic collaboration, ‘Dirty Dancing’.
Out on 31st July 2026, the Dutch pair unite for a dark, groove-led first appearance on Damian Lazarus's label, backed by two distinct reinterpretations from Brazilian artist Malive.

Anchored in a heavy groove that never loosens its grip, Crosstown Rebels’ latest release, ‘Dirty Dancing’, brings together two Dutch artists whose ideas have been shaped by a shared creative language built over time. Amsterdam’s Franc Fala continues to build on what has been a rapid rise onto the global house circuit, with a run of notable releases coupled with a growing touring schedule, ensuring his records and name have been the talk of the town for many. Alongside him, regular collaborator, fellow countryman and close friend Benja has also ensured his approach to music has also landed with impact, leaning on energy and atmosphere to shape records designed to resonate beyond the dancefl oor. Here, the pair reunite for their biggest collaboration to date as they make their debut outing on Damian Lazarus’s revered imprint with a record crafted for the peak hours.

Everything revolves around a vocal hook that doesn’t sit in the background; it emerges to take over the track, keeping listeners locked into the groove beneath. Rather than pushing in obvious directions, it circles and tunnels deeper, drawing listeners in until it becomes the only thing that matters. On remix duties, Brazilian DJ/producer Malive delivers two contrasting interpretations that take command of the B-side. His ‘Noturno Mix’ pushes into shadowy, late-night territory, extending the track’s hypnotic pull through melodic textures and tension, whereas his ‘Goes To Rio’ mix takes a more fluid direction, loosening the groove and introducing bright keys alongside a slick rhythmic swing.

The Third Room launches its new curator-led series with Oscar Mulero, one of techno's most uncompromising and influential voices. Through decades of releases, DJ sets and his work with PoleGroup, Mulero has helped shape a sound defined by tension, reduction and depth, leaving a lasting mark on contemporary techno culture. For this first chapter, he brings together artists who reflect that same discipline and sonic clarity. Rather than focusing on solo authorship, Mulero shifts towards dialogue - connecting with producers who operate within a shared language, while bringing their own distinct perspectives to the record. He opens with Sonic Synergy, the only solo track: restrained, dub-influenced and immersive, built on warm low-end and gradual development. The centrepiece of the record follows with Reaction Pair, a collaboration with DVS1. Bringing together two of the scene's most established voices, the track unfolds as a fluid, open construction: a rolling, slightly woobly bassline meets evolving chords that build and dissolve tension in continuous cycles, creating a sense of forward motion without obvious peaks. Seven, with Luigi Tozzi, introduces a more spatial dimension, merging Tozzi's atmospheric depth with Mulero's steady drive. Closing track Between the Stars, with Isabel Soto, leans into a timeless, understated energy - functional without ever becoming forceful. Across all four tracks, the EP remains consistent in tone: spacious, spheric and focused on long-form movement. As the first entry in the series, it sets a clear direction - reduced, hypnotic techno built for longevity. ? 2026 The Third Room A1 Written and Produced by Oscar Mulero | A2 Written and Produced by Oscar Mulero & Zak Khutoretsky | D1 Written and Produced by Oscar Mulero & Luigi Tozzi | B2 Written and Produced by Oscar Mulero & Isabel Soto Mastered by Ahmet Sisman (The Third Room Studios) Artwork by Charlotte Ernst Design by Daniel Bornmann (STUEDIO.XYZ) Distribution by Clone Pressing by Matter Of Fact

Latebloomers introduce The First Bloom, their debut EP, ready to heat up summer dancefloors.

From playful ghetto-infused house grooves to deeper, hypnotic cuts, The First Bloom brings together five artists connected by friendship and a shared love for underground dance music.

The A-side features Miami Beat$ representatives BeetWorldWide, Uncle Franky, and Teejay joining forces on two nostalgic, hip-hop-inspired cuts. On the B-side, label founders Roy Koch and DJ Z each deliver a solo track, exploring deeper grooves and planting the seed for the Latebloomers sound.

Rooted in the belief that growth unfolds at its own pace, The First Bloom marks the beginning of Latebloomers.

Fantastic Man returns with Total Djreem, two long-form trips. Excursions into hypnotic, psychedelic club territory. The original unfolds in widescreen, balancing momentum with a hazy sense of space, while O.BEE takes things deeper on his Acid Shower Mix, twisting the track into a more acidic, heads-down affair with the kind of unexpected turns that have become his trademark.

After Diogo’s hit record, we are following it up with another set of swinging dance floor detonators! Arriving directly from Brasil, Sérgio presents itself as another moniker from one of the greatest creative minds in all South America, Gabriel Guerra. With dozens of releases scattered over Future Times, Superconscious Records, LAMA, Got Tun, Balaclava Records, or his own 40% Foda/Maneiríssimo, he lands on our lap with a couple of highly effective, UK infused, and slightly nostalgic dance tracks. We’ve allways neutered a profound sense admiration for everything that Guerrinha was releasing under his 40% Foda/Maneiríssimo label, and had the feeling that his vibe was definitely one that we could relate to. Happy, a little wacky, and truly unpretentious dance floor madness! From acknowledging that, to reaching out was just a step. He was super available to work with us, and after the first talks he promptly provided us with a google drive folder with more of 100 unreleased tracks… Yes! You heard it! More than 100 gems of pure creativity ranging from all kinds of genres and across a fucking multiverse of alias and alter egos! So yes, that’s the kind of creative genius we are talking about… Moving from this “garagy” universe, Guerrinha presents us with a set of super fun tracks, which both leans over this infamous side of dance music, as well as it keeps an eye open for the most blatant forms of pop culture. Pure and simple dance floor tracks, to be enjoyed with a smile on your face.

"Is this the sound Sérgio?" or "Is this Sergio's sound?". The question of the questions seems silly, but it was postulated in 2019 to answer Guerrinha a new sound idea: A super appealing garage sound, so that any kind of doubt about the fact that Guerrinha's sets being fun, and that he himself would be able to mix swinging rhythms, would be eliminated. Sérgio is Guerrinha’s pseudonym for this, and since its first release in 2019 with the album “Utensílios” it has strangely become his most played alias, with a few small hits in the small Brazilian scene. After the pandemic drama, he returned in 2022 with the album "Mais Utensílios" and the single "Fantabobi / Riquititas", two releases that again grew the good problem of other djs constantly asking Guerrinha for these tracks. Now he releases the 12'' "Pelo da Churreia" via Discos Extendes, made in 2020 and containing small garage hits from that time. All this information raises the initial questions, since Sérgio is not just a pseudonym, but the curse that grew inside Guerrinha himself, sometimes it's in the appeal that “the bug catches on”.

Dance your dance. From the first beat to the last, slow or fast, house music is a home for everyone.

This release symbolises a moment in time. A blueprint for dance music before the world knew what it was. Formally referred to as Garage, House or Loft music in the 80s, Frankie Knuckles and Larry Levan shaped the sound from its roots. Larry, resident DJ at Paradise Garage, New York, Frankie at The Warehouse in Chicago, both prolific remixers and some of the first career DJs. Two close friends. Countless genres. One feeling.

RE:VERSAL are excited to present our third compilation, a strictly limited one-time pressing on high-quality 12" 180g heavyweight vinyl - FULL 12” VERSIONS

Originally released on the Escape From South Warren LP via Motech Records in 2015, “We Get Down” was born from a hypnotic Turkish loop sample twisted into a raw modern dance weapon — driven by Gary Martin’s preacher-style spoken vocals and underground Detroit energy.

The story behind the youANDme remix runs even deeper. He first delivered a version back in 2015, but it never made it to the two 12” releases. The track refused to die. He later released it as “Swell,” and stripping away the original GM elements and releasing it with a massive remix from Kenny Larkin that went on to make serious waves. This latest version includes originals samples.

After asking Franki to release it on Teknotika, he came back wanting to make a much better version than 10 years ago. And he definitely delivered! This version includes much more elements of the original version with the fire fire of his sound.

Now “We Get Down” returns with the strongest remixes the track has ever seen — alongside the original cut that started it all. Detroit pressure, rebuilt for a new era.

ROSE KEELER-SCHAFFELER

UNIVERSAL LANGUAGE

Magic Hollow (MH002)

Before we learn language, we learn the voice.

Universal Language is the second release on Magic Hollow and an exploration of the voice before song and before speech. Written and recorded during pregnancy and early motherhood, Rose Keeler-Schaffeler's album draws inspiration from the earliest forms of human communication: coos, cries, sighs and instinctive vocalisations that precede language yet already contain the seeds of music.

Best known as Keel Her, the cult DIY songwriter, producer and NTS Radio DJ whose fiercely independent body of work helped define a generation of bedroom pop, Rose reveals a strikingly different side of her musical practice here. Produced by Daniel O'Sullivan, Universal Language places the human voice at its centre, treating it not as a vehicle for lyrics but as the raw material from which music, language and relationships emerge.

With the exception of a handful of bass vocal parts performed by O'Sullivan, every voice heard on the album is Rose's own.

Across twelve meticulously composed pieces, layered vocal arrangements intertwine with subtle electronics, tape manipulation, synthesizers and understated drum machines. At times the music evokes the luminous purity of medieval sacred music; elsewhere voices dissolve into hazy ambient textures or unfold through hypnotic loops that blur the distinction between singer, choir and atmosphere.

The album was recorded during the first year of her son’s life. Many of its melodic contours and vocal gestures were inspired directly by his earliest sounds. His pre-linguistic attempts at communication became compositional material, guiding Rose towards a deeper exploration of the voice at its point of origin.

Deeply personal yet reaching towards something universal, Universal Language is a meditation on the human voice: our first instrument, our first language and our first experience of belonging.

The talented Mr. K continues to build up the most comprehensive collection of DJ essentials to hit the 7-inch format with this latest offering of two beloved classics from the golden era of neo soul. First up is Jill Scott’s self-empowerment anthem ‘Golden’, here the original version stitched together with an unreleased 2005 breakdown remix by London crew Blackbeard. Using sweeping strings from the Blackbeard version, dramatically building to a tambourine acapella & original track makes for a masterful edit, one even more impressive when it’s done as seamlessly as this. The flip side ups the tempo with Mos Def’s ‘Umi Says’, a unique hybrid of broken drums, swirling keyboards (courtesy Weldon Irvine Jr. and Will.I.Am!), a propulsive bassline, and those instantly addictive vocals. Mr. K adds a solid minute of intro, giving the song the room it deserves to breathe, and just lets things simmer without distraction. Another masterclass at the edit board, and another gem to add to our growing treasure trove of work from Mr. Krivit in maximum sonic fidelity both for their first appearance in a 7-inch format.

The legends of the golden era of Italian soundtracks and library music go by many names, but the backbone of that era’s definitive sonic identity is most often identified as I Marc 4 (also known as Marc 4 or I Marc Quattro). While the moniker might be less familiar to the uninitiated, it is a simple acronym derived from its founding members: Maurizio Majorana (bass), Antonello Vannucchi (organ), Roberto Podio (drums and percussion), and Carlo Pes (guitar). The number "4" serves to highlight the core synergy of these four master musicians. Their journey began in Rome’s vibrant jazz scene of the 1950s and early 1960s, where they honed their craft as members of the RAI national orchestra and collaborated with the most prominent jazz and pop icons of the day. However, it was their pivotal role in defining the Italian cinematic sound of the 1960s and 1970s that secured their legacy. Their unmistakable style was an eclectic fusion of beat, jazz, classical, and Latin influences—textured with early synthesizers, experimental sound effects, and a blend of electronic and baroque instrumentation. Consequently, their initials are etched into the credits of countless landmark recordings by legendary composers such as Nino Rota, Armando Trovajoli, Gianni Ferrio, Alessandro Alessandroni, Piero Umiliani, and Ennio Morricone.

Beyond their work as session luminaries, they produced a vast body of library music under their own name at the legendary Telecinesound Studios in Rome. These recordings were released through prestigious library labels like Sermi, Ricordi, and Fonit Cetra, as well as through their own imprints: Nelson Records, Silver Men, and Silver Music, spanning a definitive series of sixteen albums. Ten of these volumes were issued on Nelson Records during the 1970s, featuring the now-iconic military stencil design. Each release was color-coded: red (G.L.P. 1001), dark blue (G.L.P. 1002), gold (G.L.P. 1003), light green (G.L.P. 1004), brown (G.L.P. 1005), black (G.L.P.1006), light blue (G.L.P. 1007), yellow (G.L.P. 1008), orange (G.L.P.1009), and cool green (G.L.P. 1010). The series was completed by two elusive companion releases: S.M. 2001 on Silver Music and S.M. 2002 on Silver Men, both presented in the same distinctive brown sleeve. Rediscovered in the 1990s and 2000s, these Nelson releases have since achieved cult status among collectors, producers, and DJs worldwide. The final two installments, S.M. 2001 and S.M. 2002, remain the rarest and most enigmatic of the set.

Often overlooked, they contain some of the most profound "hidden gems" in the group’s catalog. The tracklist traverses a wide stylistic spectrum: from the rare groove and proto-hip hop energy of "Trama Nella Metropoli", "Beat Morbido", and "Candy", to the lush cinematic atmospheres featuring the ethereal vocals of Edda Dell'Orso on "Summer In Love", "On The Rain", and "Arcobaleno". The collection is rounded out by sophisticated jazz pieces like "Flauti Ensemble", "Passeggiata", and "Atmosfere Dolci”. Sonor Music Editions has meticulously curated the finest moments from these two rare albums for this first-ever dedicated reissue. Bringing together the best of Silver Music (S.M. 2001) and Silver Men (S.M. 2002), this release retains the iconic stencil artwork but introduces a striking silver finish. This design choice honors the original ten-album sequence while shedding new light on these outstanding recordings—works that remain, in every sense, golden.

Japanese pressing

two Japanese rare groove classics from 70's selected by DJ CHINTAM (Wamono AtoZ), both tracks are first time pressed on 7 inch.

Originally released in 2004, Because Of My Dream is a quietly overlooked gem from the early-2000s Dutch underground. Produced by Amsterdam DJ and producer Angelo D’Onorio, a longtime presence in the city’s club circuit including Mazzo, Roxy and Paradiso, the record blends rolling House rhythms with analog synth textures to create a deep, late-night atmosphere.

Though it circulated among a small circle of DJs at the time, the release never reached the wider audience it deserved. Its patient grooves and dreamy progression reflect D’Onorio’s hardware-driven approach to production and the understated emotional pull of Dutch House from that era.

Two decades later, Anacalypto Records brings Because Of My Dream back into circulation, rediscovering and reintroducing this forgotten dancefloor moment for a new generation of DJs, dancers and selectors.

Originally released by Panjabi MC in 1998 and propelled to worldwide success in 2002, “Mundian To Bach Ke” is widely recognized as one of the most influential Punjabi tracks ever recorded. Featuring the unmistakable vocals of Labh Janjua, the record fused traditional Punjabi bhangra with contemporary hip-hop production, creating a groundbreaking crossover sound that resonated with audiences across continents. Today, it remains a cultural landmark that helped introduce Punjabi music to international audiences and paved the way for the worldwide rise of South Asian artists.
Now, Spanish electronic music heavyweight Dario Nuñez joins forces with Afro House tastemaker Juany Bravo to breathe new life into this timeless anthem. The remix transforms the iconic vocal hook and instantly recognizable melodies into a high-energy Afro House and tribal-infused club weapon, blending modern production with the infectious spirit that made the original a worldwide phenomenon.
Also included on side A is the new remix by Benin-born, Brooklyn-raised DJ and producer, Amémé. Celebrated for his "AMÉMÉ House" sound, he blends deep house, tech, and ancestral African tribal percussions. The remix bridges two very distinct styles, classic South Asian bhangra and modern, spiritual Afro-house energy, all with Panjabi MC's personal blessing.
On side B the classic original version alongside the remix featuring Jay-Z !

Released in 2006 as an EP, From Buraka to the World introduced Buraka Som Sistema"s explosive fusion of Angolan kuduro with bass music to the world. Twenty years on, the full album version - expanded in 2007 - gets its first ever vinyl pressing. This limited colour vinyl edition includes "Yah! (feat. Petty)", the breakout hit that set the tone for everything that followed, and "Wawaba (v.1.8)" as the sole version of that track, in place of the two takes that featured on the original release.

This 45 reissues two Spanish classics-DJ'd, sung, and danced to exhaustion-featuring striking arrangements and rhythms inspired by soul, funk, and rock, pushing flamenco-influenced popular music into previously uncharted territory. The flamenco rock of 'Orgullo' (1974) by Las Grecas will appeal to international listeners already captivated by the Anatolian sound of Baris, Manço, Mogollar_ On the B-side, Paco, Paco, Paco' (1969) by Encarnita Polo is a soul-pop hit with an irresistible syncopated rhythm and killer bass lines. In the final years of Franco's dictatorship, when Spain's popular music was kept on the sidelines of avant-garde and countercultural trends, a number of records emerged that dared to bend and hybridize the country's so-called "national" musical genres (calling it flamenco outright would be imprecise) and infuse them with a dose of modernity. The first 20 seconds of 'Orgullo' (1974) hit with a powerful sonic punch built on ferocious fuzzed-out guitars, distorted keyboards, and thunderous drums that could easily belong in the discography of Led Zeppelin, The Guess Who, or Cream_ until, suddenly, Las Grecas start to sing and Flamenco rock is born. It will undoubtedly resonate with international audiences already drawn to the Anatolian sounds of Bar?? Manço or Mogollar. A few years earlier, in 1969, the brilliant Argentine producer and arranger Adolfo Waitzman had already transformed a harmless light pop tune recorded by a yeyé girl, Encarnita Polo, into a soul-pop hit driven by an irresistible syncopated groove and killer bass lines. The playful 'Paco, Paco, Paco' became a bestselling single in Spain and, more than 50 years later, is still celebrated as a brilliant example of the romance between flamenco-inflected sounds and soul-pop. First-ever single reissue.

*repress*

Phonica unveil the second in a series of three 12" samplers featuring a selection of tracks from their new compilation 'Ten Years Of Phonica'.

Phonica favourite Lo Shea kicks off Sampler number 2 with the ominous 'Home', a bassline-heavy house cut that continues on from his streak of high quality and inventive 12" releases on Seaghdha. Medlar and Red Rack'em join forces for the submerged 'Morning Light'. It's deep house in its truest form and here's hoping they continue to collaborate, because on the basis of this, they're onto something very special.

Moiré is another producer Phonica have been hugely impressed with, his highly original 12"s for Werk Discs and Rush Hour blew us away and his contribution 'Solar Signs' doesn't disappoint. Cult producer STL rounds out the 12" with 'Freaky Fingers'. His distinctively twisted take on house and techno is in full effect on this one, whistles and all. As STL releases on labels other than Something or Smallville are a rarity, it's yet another coup for Phonica.

Phonica Records was established in September 2003 and set up shop in Soho, London, adding to the high concentration of independent records stores that inhabited the area. Founders; Simon Rigg, Heidi Vanden Amstel and Tom Relleen joined The Vinyl Factory with the aim of creating an exciting outlet for innovative dance music, traversing all sub-genres and cultures. Over the past decade the emporium has developed into a well-respected destination for DJs and enthusiasts, and has subsequently become a bustling hive of conversation and inspiration as part of a wider community of music lovers.

While trends and movements in music have grown and faded over these years, Phonica has always remained in a state of evolution. It is this openness to change alongside a commitment to it's original ethos and an enduring ardour for quality, cutting-edge sounds that has fuelled the shop's staying power.

To celebrate reaching this milestone, Phonica Records have invited some of their favourite artists to produce a track for an eclectic yet cohesive compilation, which will hopefully go some way towards sonically unfolding the 'Ten Years of Phonica.'

Internationally acclaimed DJ Natasha Diggs and UK-born, Lisbon-based DJ/vocalist Megatronic are proud to announce their first collaborative EP People, set for release via The Jazz Diaries. This new project began in the summer of 2023 when Diggs and Megatronic first joined forces, bonding over a shared vision of dance music as a joyful, soulful, community-centered experience. Over the past two years, the transatlantic duo has channeled that ethos into People, a record that merges their distinct talents and global influences into a vibrant, uplifting sound.

Two supreme House Grooves from the world renowned “Maestro” of the dancefloor in the continuing build-up to the Louie Vega “Expansions In The NYC” album release. With “Another Day In My Life” Louie Vega incorporates elements of the classic jam “Never Had A Love So Good” by Charles Johnson (fully cleared and licensed from the legendary Henry Stone Music Company), and creates a driving and infectious soul-infused club anthem that ruled the DJ download platforms prior to its vinyl release. On the AA side, Louie works with his long time collaborator Axel Tosca as well as legendary Chicago DJ / Vocalist Mike Dunn to create his own very soulful and New York flavored interpretation of the renowned 1999 Deep Burnt song by Pepe Bradock, done of course with Pepe Bradocks blessings and appreciation.

The A side opens with two ambient pieces: "Inception," gritty and haunting, built from field recordings and layered chords, and the dreamier "Regulator Dial." "Air Lock" and "DFtB" turn breaky and low-tempo, evoking early electronica. The flip moves through "Waterproof's" downtempo electro and "Make Right," the LP's most club-ready cut. Title track "Bean Soup" channels early Four Tet: bleepy, minimal, emotional, while "Sunlight" closes with blissful, calming sounds, rounding out a beautifully balanced record.

Tudor Gheorghe, aka Romansoff, is a Bucharest DJ, producer and vinyl collector with over 13 years on the capital's underground scene. Inspired by small local parties in the 2000s, he started collecting vinyl, then DJing, quickly becoming a key figure in the Bucharest club scene. Since founding his imprint Raw Tools in 2013, he's released on Lobster Theremin's Mork, Creme Organization, Les Yeux Orange and Solar Phenomena.

In 2018 he co-founded venue Platforma Wolff, a full club by 2021, as booker and resident, hosting headliners like Prosumer, Paramida and Tornado Wallace. Versatile and creative, he stays a fixture at Bucharest's best nights. His debut LP lands this year on Bar Ton's vinyl label.

DJ Support – The usual Suspects

Moxy Edits sneaks two tracks past the velvet rope—no guest list required, bass-heavy, floor-ready, summer certified.

Brace yourself for a masterclass in soul, as two of the most seminal names in drum & bass, DJ Marky & Makoto, assemble for 'It's Alright, I Feel It (ft Vanessa Freeman)', the first taster from the start of a brand new musical journey for the duo. Upping the tempo with a cover of the iconic single from Nuyorican Soul (Louie Vega & Kenny Gonzales) & Jocelyn Brown original, 'It's Alright, I Feel It' is pure euphoria at its core - home to stunning piano licks, sultry string stabs and immaculately powerful vocals courtesy of Vanessa Freeman.

Limited to 300 copies. No repress.

This is Queenie DJ and Music producer from China I’m thrilled and honoured to have YangBing — a true master of Chinese electronic music — join this project with his remix for spring

About this EP — “Four Seasons (IIII Season)”It took me two years to complete this album (from pre production to Released )
This EP was inspired by the distinct feeling and atmosphere of each season. The four vinyl colours reflect that same seasonal bloom.

Track by Track:

1. Spring (Splash Fluorescent Pink Vinyl)
This song was born during Spring Festival in Guangzhou. To capture the local spirit, I sampled the classic Cantonese opera “The Princess’ Flower” — a touch of tradition. YangBing’s remix then injects vibrant electronic energy, making the track blossom with the renewal of spring.

2. Summer (Splash Blue Vinyl)
I was sitting by the sea in Xiamen, coffee in hand, feeling the sun and ocean breeze wash over me. Right then, it hit me: a jazz-house tune would be the perfect soundtrack to that summer afternoon. This track is that moment, frozen in sound.

3. Autumn (Splash Yellow Vinyl)
For me, autumn is a bridge to winter — a time for natural soundscapes. You’ll hear birds, evocative chimes, and traditional Chinese textures like the Jiangnan pipa and urgent gong rhythms. Part of this song was inspired by Yangshuo, where mountains and water truly embody the season’s essence. It’s where East meets West, sparking something special.

4. Winter (Splash Pure White Vinyl)
A downtempo rhythm to ease busy minds. Winter’s morning light enters on the lingering birdsongs of autumn, followed by subtle holiday warmth and the quiet feeling of falling snow. To me, winter is a season of gathering — of holidays, family and friends.
(coloured vinyl 12" 180g comes in different coloured vinyl, we cannot guarantee which colour you will receive))

Wet is the fifth full length album by Black Meteoric Star and the 10th release. Black Meteoric Star is a project Rayna started in 2006 when she was living in Berlin that brought together her life long love of dance music culture with spiritual themes, drag, and her formative experiences of S/M culture Black Meteoric Star has always had an avenger quality in Rayna's life and creative work, and this iteration plays that role in response to the current political landscape. Wet celebrates the long standing shared history of electronic music and queer leather/SM culture and imagines a future where these two cultural expressions are re-connected.

Electronic music and leather/SM are both ways that queer people have historically built community, created and shared knowledge, and kept each other safe. The current administration demonizes and villainizes queer people on the basis of a false moral framework of respectability, and its a trick. No amount of acting "respectable" will humanize queer people in the eyes of this administration and get us the rights we deserve. Revitalizing the connection between electronic music and queer leather/SM is a way to affirm the cultural power of both during a time when it has never been clearer that we keep each other safe. Rayna, a transgender woman with a deep commitment to all of these cultural forms, has a strong message to deliver with this album. She has been a DJ and producer of electronic music for over thirty years and has been producing community cultural events for as long. She has also been involved in kink and bdsm for decades and is a well-known and respected DJ in the New York leatherdyke scene. Rayna made international headlines in 2017 when she came out as transgender while touring with LCD Soundsystem. In 2018 she left the Grammy winning band to pursue projects that were more connected with her queer experience, including founding Voluminous Arts a cultural organization that supports trans artists. Black Meteoric Star is a continuation of a thread in Rayna's work that runs through her Paper Eyes project and her role in Black Leotard Front. This thread has a comic book or x rated graphic novel component based around her experiences of being a sad lonely lesbian trans girl who got bullied a lot and found escape and the possibility of being avenged through X men comics and Dungeons and Dragons books.

In a landslide of writhing textures and hypnotic rhythm, prolific techno explorer DOLTZ. returns to DJ Nobu's Bitta imprint for an expansive album that foregrounds his skill creating living, breathing soundscapes out of pure synthesis. Since debuting in 2020, Shun Watanabe has issued a steady stream of LPs and EPs that quickly established him at the forefront of techno innovation in the Japanese scene. It was natural then for him to forge a connection with DJ Nobu's celebrated Bitta label via 2024 release Inception EP, a forthright club-focused statement to balance out his more experimental output on Muzan Editions and other labels. Elsewhere, Watanabe has also been developing a fruitful collaboration with German techno veteran Tobias Freund, resulting in two bold yet elegant albums on Dutch label Delsin. On Final Trace, the DOLTZ. sound is steered with purpose towards tactile sonic terrain where microscopic detail rewards the patient listener. He explains a core inspiration for the album was Kobo Abe's avant-garde 1960s novel Woman In The Dunes, which drew on repetition and the quiet madness of an inescapable environment. That manifests as a forbidding demeanour that courses throughout Final Trace, detectable in every slithering trail of static interference and mind-warping tonal loop. This is expertly sculpted wormhole techno of the highest calibre, delivered by an artist with the creative spark to make something visceral and thrilling out of a technically advanced approach. The power of Final Trace lies in the subtlety of its progression as a seemingly incessant refrain slowly morphs before your ears, but this is far from a static album. From the mesmerising throb and thrilling crescendo of 'Faz' to the sprightly ripples and pulses darting across 'Resonance', there is a constant sense of movement and the bright-eyed wonder of new ground being broken at every turn. It's the perfect summation of everything exciting about Watanabe's rich expression as DOLTZ. -- stunning sonics driven by brilliant ideas.

Whilst scrolling through the dusty corners of the internet, the legendary producer, DJ and musical bon viveur Chris Bangs stumbled across some demo recordings of an obscure organist ‘Mose Dillon’ - intrigued but also thoroughly charmed by their obvious lack of audio fidelity, and after finding they were previously unreleased, hatched a plan to bring them to the attention of jazz, blues and soulful sound aficionados.. Recruiting Simon Ward, as a fellow multi-talented musical mind known as and for his work as Dr Rubberfunk (Jalapeno Records) / Mr Güder they combined their renowned skills to add a new sheen to the original music.

The end result is the pairing of these two newly re-invigorated jazzy Hammond B-3 tunes - a version of Rejoice In Righteousness - Bukky Leo’s spiritual tinged, jazz dance anthem of the late 80’s, and with the flip - Mighty Righteous - it’s clear whilst his story remains unknown, Mose Dillon had a thoroughly righteous mind set when he recorded that Reuben Wilson inspired groove.

Wherever Mose went - or is - we are confident he approves!”

Rafael makes a statement on his Crosstown Rebels debut with his latest two-track release, ‘Gotta Be Cool’. Out on 26th June 2026, the rising talent lands on Damian Lazarus’ imprint with one of the year’s most sought-after IDs, backed by a collaborative B-side alongside close friend N.O.Y. Long before its release, Rafael’s ‘Gotta Be Cool’ had already taken on a life of its own. Passed between dancefloors and the subject of track ID requests for months, the record became a recurring standout moment in Damian Lazarus’ sets, the kind of track that cuts through instantly without needing explanation. Now officially arriving via Crosstown Rebels, the in-demand DJ/producer’s highly anticipated label debut captures the instinctive approach that has quickly put him on the radar through releases on Beltools, Hot Creations, SZR, Planet X and Maccabi House.

Built around slow-blooming synth flourishes and vocal chants that evoke playful, almost childlike memories, it balances emotional weight with direct club energy - a combination that has made it one of the standout records in the label boss’s sets throughout the year.

On the flip, ‘Teder’ sees Rafael team up with close friend and studio collaborator N.O.Y. for a deeper, more understated cut shaped by layered percussion, fluid grooves, and loose, after-hours energy. ‘Teder,’ made together with my close friend and studio partner N.O.Y, represents a more underground side of the EP,” Rafael adds. “The track is named after the studio complex we work from, and it was actually the first record we created there together. I feel like both tracks showcase two different sides of me as a producer and DJ, with one more direct and euphoric, the other deeper and more underground.”