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Scannoir. After their previous releases as ½GOTT and GOTT on Uncanny Valley and some remixes, the duo returns with a third solo EP, marking their first appearance on the Berlin-Basel-based label Reach Another System. Their passion for EBM, Synth Pop, and New Beat comes to life with a fine array of classic drum machines and FM-synths, topped with Teutonic lyrics and archival samples. The A-side opens with a bang: "Magnet" critiques social expectations and pressures, backed by hard-hitting snares and tom fill-ins in Front 242 fashion. Next up, "Tschernobyl" warps the listener back to 1986 – a musical report of the Soviet nuclear disaster. Equally dystopian, the B-side hymn "Matrix Leben" depicts life inside a structured system that continually shapes and restricts us. The final track "7 Minuten" pushes the limits of restless staccato EBM madness. Mission accomplished!

The journey continues. Ral 1.2 marks the second chapter of the Ral Series project, a sonic odyssey free from any market constraints. This EP features three tracks: one is a powerful, dancefloor-oriented tool, while the other two are more arpeggiated, with a focus on immersive, listening-focused soundscapes. Prepare yourself for a journey that crosses different sonic landscapes, from fast and powerful rhythms to more minimal and introspective passages.

10 years ago in 2015, The Golden Lion in Todmorden opened its doors under the guidance of Gig & Waka, Cloudwater brewed their first ever beers, the dance floors of Manchester got introduced to the world of Supernature Disco and from his spare room at home in Bolton Chris Massey started Sprechen.

What followed over the next decade has been a wild ride of amazing people, memorable (though fuzzy!) parties, creativity, art, expression, performance and at the centre of it all of course, the music.
Sprechen has never been one style or sound. A reflection of varied musical tastes without any limitations of style or genres, just a passion to share good music.
Over the last decade, Sprechen has been lucky enough to both work with and meet many like-minded cosmic creatives that share this mindset and that have all played a major role in the story.

Ein Null is a collection of original tracks from some of Sprechen's nearest & dearest who, for the last 10 years, have helped shaped the label via releases, remixes or performing at events.
It's wonky & weird, banging & beautiful, cosmic & consciousness-expanding and it continues to connect the invisible dots of club music and more abstract listening experiences.

From basements & beyond to sunsets & psychedelic socials...we are pleased to present this electronically charged selection of soundscapes courtesy of like-minded musical humans including; The Utopia Strong, A Certain Ratio, Lena C., Gina Breeze, Low Pulse, Psychederek, Lindstrøm, Supernature Disco, PBR Streetgang and of course Chris Massey.

Limited to a run of 300 vinyl with double-sided screen-printed sleeve.

It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa's Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki's roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE' by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more. Born in Minas Gerais but now based in Sao Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadu, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.

As much inspired by Billie Eilish and Rosalia, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba cancao, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all. This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award's 'Breakthrough Artist' category, who also listed 'INTEIRA' as one of the 50 best albums of 2024.

It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music. Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you'll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.

Jamie McCue is the man behind the Canadian label Silent Season and his newest concern, Moon Garden is fast becoming just as vital. This fantastic fourth outing comes from Transient Vessels, who McCue describes as "a local artist and good friend of mine." Opener 'Another Day' is a slow-motion motion dubbed-out melon twister that echoes the early Leftfield sound and is detailed with both textured synth leads and more introspective chords. 'Denihilism' is just as slow motion but deeply absorbing with plenty of wide open space for the pads to linger and the drums to churn and hypnotise.

2025 Repress

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres.

Since its original release on Italian label Carosello in 1974, Feelings has appeared on several labels with different sleeves and even under a different artist. Indeed cult library label Conroy put it out in one of their iconic red sleeves in 1976 and yes, Feelings has indeed had more than one modern re-issue since these “original” releases. But a record this special deserves to be kept in press and we think it deserves the Be With treatment.

No, Jay Richford and Gary Stevan aren’t two of the most Italian sounding names. As the story goes these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn’t use their real names on the original release for legal reasons. But Stefano Torossi himself later both clarified and confused the tale further by explaining that Feelings was the work of four people not just Gazzani and himself. Fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on the album and as Torossi himself explained “we all worked together”, with all four gents “dividing the royalties in equal parts… that’s the story.” Right, so, with that all sorted out let’s get back to talking about the music. And what music it is.

Long hailed as a holy grail of library music, Feelings is the epitome of the sort of cinematic orchestral jazzy funk that is “that 70s library music sound”. Infectiously funky, deliciously melodic and with impeccible, elegant production, this record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso.

The record’s first side lifts off with “Flying High”, soaring brilliant and shimmering. Funk licks, menacing strings and swaggering horns combine for an ice-cold intro groove that Isaac Hayes would surely have envied, before the steady-paced drums deliver the slo-mo TKO. The string-drenched cop-funk of “Going Home” raises the tempo. All funky quick-fire bass lines and killer electric guitar soloing. A real thriller.

“Walking In The Dark” positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano and more filthy wah-wah. “Fighting For Life” is another funk-fuelled workout built around an effortlessly relentless drum track that refuses to give up until even the stiffest-necked head is nodding.

The loping, open drum break that guides the much-loved “Feeling Tense” through its early stages would be good enough on its own. The heavy bass gloss, swirling strings and ominous horns that follow take things to the next level.

The second side opens with another favourite “Running Fast”, and the track does precisely that. This is one fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. Those sweeping strings are a gorgeous extra. It’s a deliciously feel-good groove that sets the heart racing.

“Loving Tenderly” envelops us in warm, velvety night-time vibes with easy listening horns and slinky strings dialing up the seduction. Definitely one for the lithe lovers out there. The pace picks up on the electrifying “Fearing Much” where strings dart around deep bass, buzzing guitars and another funky drum break. The lush, melancholic “Being Friendly” is another easy beauty, all warm Rhodes and strings. Majestic stuff that puts an aural arm around you. The climactic “Having Fun” rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings and triumphant horns. Sensational.

On Wednesday, September 10th, WHIRLWIND TRAX drops its debut vinyl release, presented under the banner of the label's ULTRANOVA clubnight series. Marking two years of ULTRANOVA at RSO.BERLIN, this first edition brings together a heavyweight selection of past guests and standout producers, including Bours?, Danny Wabbit, Faster Horses, KTK, and label founder Xiorro. Packed with dark, driving grooves, each track is built for maximum impact-essential peak-time weapons for any record bag.

Celestial Echo (miche & Stu Clark) team up with Divine Disco’s Greg Belson to launch a brand-new 7-inch series spotlighting Detroit’s powerhouse gospel, soul and R&B label — HOB (House of Beauty). Founded in 1956 by Mrs. Carmen Murphy, HOB wasn't just a label — it was a beacon. From the basement of her beauty salon on Detroit’s West Side, she ran one of the most important Black-owned gospel imprints of the 20th century. At a time when both the music industry and the country were stacked against her, Mrs. Murphy built a sanctuary for soul — a Black woman-owned business and creative hub in volatile times.

This inaugural 7-inch kicks off with two in-demand killers:

Side A: Elder Ward & The Ward Singers – "It’ll All Be Over" A fast-paced gospel dancer with a monster groove, killer breaks and heart-wrenching vocal delivery — this one’s a guaranteed floor-filler and rarely surfaces for less than £250 on the collector circuit, if at all. Urgent, uplifting, and impossible to ignore.

Side B: Victory Travelers – "Power Lord" Another holy grail moment — deep, raw, and unshakeably soulful. Rare in its original form, often fetching close to £100, it’s a heavy dose of electrified gospel sure to hit home with fans of deep soul and spiritual funk alike. Fully licensed and remastered, this 7-inch comes housed in a custom Celestial Echo / Divine Disco series sleeve with a faithful reproduction of the HOB label.

Aer making everyone dance with "I'm Gonna Dance," Muzic Family Vs. Stylóo is ready to ignite the
dancefloors again with "Sweat," an adrenaline-fueled track that unites the tradi!on of Italo Disco with a
modern pop-dance sound.
At the helm of "Sweat" is Roberto Tura, one of the most influen!al producers in the Italian and
interna!onal dance scene. A key figure of 80s Italo Disco, Tura( has shaped !meless hits for ar!sts like Den
Harrow, Joe Yellow, Albert One, and Stylóo themselves, helping to define the sound of an era that s!ll
makes fans' hearts beat faster all over the world. With "Sweat," Tura( once again proves his ability to
merge the magic of those years with a modern, powerful sound, capable of winning over new genera!ons of
listeners and ge(ng everyone dancing.
By his side is Silvio Melloni, a top-level musician and arranger, who is now part of the historic band Ma"a
Bazar. Melloni brings his experience and musical sophis!ca!on to the project, cura!ng arrangements rich in
detail and nuance, where every element is calibrated to maximize the emo!onal and rhythmic impact of the
track. His ar!s!c sensi!vity perfectly matches Tura('s energy, crea!ng a winning combina!on of technique,
passion, and crea!vity.
The release of "Sweat" doesn't stop at the original version: two exclusive remixes are included to enrich the
project, promising to make the track explode on the most demanding dancefloors.
 Italoconnec"on Remix – The duo formed by Fred Ventura and Paolo Gozze( (aka Italoconnec!on)
transforms "Sweat" with their characteris!c touch: sonic elegance, pulsa!ng energy, and a refined
sound that blends dance-pop rhythms with the vibrant nostalgia of Italo Disco. It's an interpreta!on
that leaves no room for rest and pushes you to listen and move.
 A.P. Mono Remix – A.P. Mono infuses an 80s-flavored electro-disco soul: funk syncopa!on,
enveloping synths, and an irresis!ble groove. His reinterpreta!on turns the track into a true
energe!c vortex, perfect for making anyone who dances to it sweat.

Inspired by the lyrics of Ric Ocasek, Beroshima's "This Could Be Love" was released in a more stripped down fashion some years ago. Thanks to new technology, voice modulation and the recent attention it gained, it now appears in as a totally different version, on vinyl for the first time. For the lovers of the golden Electroclash era, this is your jam.

It's time for a new compilation in our house and we have some good music to fill it up. This collection of talent is going to be served in two flavours, the physical one a four cut vinyl EP featuring previously only digital tracks and the second one a ten track selection from our back catalogue featuring some of the best producers in our family.

Asier Morillas ( A4 ) is probably one of the most original sci fi specialists out there and he's been part of our sound since his first steps into production. His track Kynosoura is a perfect example of hi tech jazz.

David Reina is also a science fiction specialist, also featured with a full length work in our catalogue, our pick for this collection is Autoscopy, a mental and complex sonic voyage into the best outer space techno.

From Mod 21 we have selected one of his most played tools, Escalation of Violence, the perfect hypnotic drill to boost your mixes properly.

Vertical Spectrum brings us to hyperspace in BALN006 combining a distorted groove with floating alien bleeps in a sci-fi techno masterpiece.

This four cuts will be pressed on wax, let's talk about the next eight:

From his Idle Ep we have chosen Temudo's Spiritual Song, a merciless floor weapon heavily tested on the best clubs and big stages out there.

Next comes BiiBii by Null Forms approaching a more abstract and sci-fi terrain, maintaining the danceable pulse and well-managed distortion. The result is more mental and synthetic. A kind of controlled chaos.

Axial Rotation from Translate starts with a fast paced groove, heavily bass fuelled with a continuous synth line moving across the basement. All sound elements are constantly mutating and evolving although the mood is linear and loopy.

Eight cut comes from Dutch veteran Dimi Angelis, the third from his
A Journal of Impossible Things EP from 2023. The hypnotic bleep penetrates your mind while the dirty sound of the old drum machine sets the pace for your feet. Special mention to the occasional resonant sweep that appears from time to time creating the required tension.

On the ninth, Ruman's Lizard from Where The Ring Ends LP, mental and hypnotic, perfect for adding tension to a mix, again heavily tested on the best dancefloors extensively.

Closing the release, CONCEPTUAL with Red Sun a magnificent closing anthem, no more words needed here.

With this collection you get a tiny snapshot of the sonic palette of Warm Up Recordings sound. Check our full catalogue to get the proper picture.

Ida Engberg is back on DCLTD with her two tracker ‘Radiate’.

Radiate: insistent 'tin cup' tapping percussion offsets the thumping resonant beat, while two 'voices' duet - or duel?- a vocoder-processed robot vs sung, breathy, high vocal chords. A simple but heavy two-note main theme gives an ominous, almost threatening vibe, upping the tension and spicing the feel of the track.

New Day: high energy, fast rattling percussion split by spacey hoover sounds introduce a robotic vocal speaking, announcing, the lyrics - 'this is a new life..., a new day' - giving a portentous significance and atmosphere. The sweetly high melodic sustained synths chords add a layer of emotion, nostalgia touched with melancholy. Compelling, involving, as well as full on techno beats.

2025 Repress

Deep In Dis Intl. is back with another killer release, this time by Brazilian sound system culture precursor Rassan and his Don't Hesitate EP. It includes a remix by UK's rising DJ Producer Bailey Ibbs. It is widely known by now that the Brazilian electronic music scene is one of the fastest growing and its artists are gradually developing a unique style with a strong international influence. Rassan, co-founder of the Nice & Deadly record label is a promising talent, making noise with his 90's raver influenced productions.

A1. "Don't Hesitate" is like stepping into a time machine. Nostalgic piano riffs, classic breakbeats and catchy vocal samples. Perfect summer anthem.
A2. "Rota De Fuga" is one of those tracks that can really transport you just by closing your eyes. It has a darker, trippy and speedier vibe that stimulates and submerges you deeper into the night.
Flipping the record, B1 is just a perfect example of Bailey's dynamic skills to program beats, adding some quirky sounds, an infectious electro pattern and a super deep breakdown. Robot dance style for this one!
B2. 'Bury The Hatchet' closes this wicked EP with a sublime energy. Proper deep jungle vibes. Four special tracks for any special moment of the party.

Interpit celebrates its tenth edition in glorious fashion. This anamalous record sports 2 remixes recorded by label founder Ohm Hourani.

The original songs are by George Wassouf, one of the most iconic singers in Middle Eastern music and an absolute living legend. Wassouf is a musical phenomena that will never be repeated, and an international treasure.

"Helef El amar" on the A-side is a song that has captured the ears and the hearts of millions since its release in 1988, and still does to this day. Play through the first bar or two to coax forth a smile on the listener's face or a tear on a lover's cheek.

On the B-side you'll find a more mysterious and trippy journey with a remix of an even older El Wassouf classic entitled “Dibna/inti ew ana ya rait anna kookh.” The remix is designed to make you visit places deep within your soul.

The creation of this record is a lifelong dream that carries an immense amount of emotion, and therefore we can't wait to share it with you.

Long kept in the shadows, "+ Ou – 8000" is a rare gem of the French musical avant-garde, born from the meeting of three
composers at the peak of their inventiveness. Initially intended as sound illustration, this album crosses the boundaries of
library music, space jazz, and electronic experimentation, with a freedom and boldness that today give it cult status.
Teddy Lasry, an iconic figure from the MAGMA universe, has always moved between jazz, progressive rock, and electronic
music. A saxophonist by training, he explores here synthetic and spatial territories with striking modernity.
Francis Mercier, discreet yet remarkably effective, is a sound craftsman who left his mark on many library music records
in the 1970s. Here he delivers precise rhythmic textures, tense atmospheres, and a minimalist groove mastery.
Christian Perraudin, a chameleon composer bridging academic music and film scoring, brings his cinematic touch—
floating melancholy and sci-fi tension. A true artisan of sonic ambiance.
Boldly visionary, + Ou - 8000 is an invitation to active listening, a journey into the heart of a fascinating sound laboratory.
This unprecedented vinyl reissue is a unique opportunity to (re)discover a crucial record that remained out of reach for far
too long.
Limited edition – for lovers of rarities, analog synths, and genre-defying musical exploration.

Hungarian producer Dave Wincent & German-Filipino producer Wigbert collaborate on a new four tracker ‘Collab’ on DCLTD. The EP marks their debut body of work together.

Collab02: minimal, no-frills techno, an unrelenting wall of percussion with subtle changes of note patterns embedded within. Hissy hoover swooshing sounds like waves of static or desert winds add intrigue to an austere soundscape.

Echo Chamber: fast, resonant drums, with a tapping hi-hat crescendo bringing in machine-like rhythmic industrial sounds… disquieting yet high energy.

Fly Back And Forth: Muffled beats a Moroder-like throbbing synth effect from the start, hypnotic and yet energetic. Sustained, pulsing high synth chords add emotional heft.

Resonant Control: a complex wave of percussion which keeps on coming, with a high chiming strand which broadens tone and becomes dominant, spiked with bleeps like mysterious radio signals from space.

Over the last decade, Emerald has become a torchbearer of underground UK dance culture on many fronts: a tastemaking selector as host of Rinse FM’s flagship Friday night slot, a DJ who has made her mark everywhere from Glastonbury to Fabric, and a producer with an experimental sound on labels like Unknown To The Unknown. Add in frequent talks at industry panels from ADE to AVA and her award-nominated Afters With Emerald club night and livestream, and you have an artist very much at the vanguard of the underground sound. Now, Emerald adds a new string to her bow in 2025 with the launch of her Precious Stones label.

Opener 'Attraction' kicks off with full-bodied analog goodness. A taut and reverberating synth drills through the drums as steamy vocal sounds, bird calls, big claps and twisty motifs all get the floor jacking. The techno-leaning 'Obsession' features London-based musician and producer Claus Fuss with its high-speed kicks, warped pads and intense hi-hats that all keep the head down and heart rate up before 'Frustration' follows with another frayed, masterfully undercooked production where dirty basslines and sleazy drums come together under strobe-lit rave motifs in irresistibly sweaty fashion. 'Resolution' closes out with a more lithe rhythm that leans on electro and runs through pixelated synth details and corrugated bass to round out a huge statement of intent from Emerald and her all-new Precious Stones label.

The year is 1989 and it's the peak of the Belgium New Beat craze. Not limited to records and clubs, the New Beat lifestyle was marketed to death with all sorts of fashion items, a plethora of accessories, and at least one erotic movie.

Fast forward a few decades. In the middle of nowhere, Switzerland, tucked inside a long-forgotten video store that closed its doors in 1999 and sat untouched for 20 years, we stumbled upon a strange treasure amongst tons of VHS hidden in the adult section. A mysterious VHS labeled "Erotiques New Beat."

What we found was pure 1989 Belgian erotica-low budget, fog-drenched, and neon-soaked. Minimalist sets. Girls in PVC. Flashing lights. Mirrors. Fog machines. Loud colors. It was erotic, sure-but also oddly sweet, almost innocent in its surreal, lo-fi dreaminess.

And then came the soundtrack.

That's what really floored us. A collection of New Beat gems, raw, simple, irresistible. Somehow, it captured the full spectrum of the genre: 100-110 bpm grooves with shades of EBM, sleazy coldwave rhythms, sensual synths, proto-Goa pulses, monk choirs, oriental melodies, and a healthy dose of movie samples. It felt alive. Timeless. Utterly perfect.

We had to know more. We dug, tracked down the source, and in 2020, reissued the soundtrack on vinyl. It sold out fast. Now, five years later, we thought about pressing one final batch. A special edition on picture disc, featuring the original smileys from the VHS.

Für die 100. Eccentric Soul 45 widmet sich Numero Group ihren Wurzeln in Ohio mit drei Replika 45s aus dem Capsoul-Universum. Eine dieser Singles, Marion Blacks zeitloser Two-Sider ,Who Knows" b/w ,Go On Fool`, wurde bei Veröffentlichung 1970 fast übersehen, hat aber ein Eigenleben entwickelt und wurde nach 65 Jahren Soundtrack für prestigeträchtige Fernseh- und Autowerbung rund um den Globus wiederentdeckt. Eccentric Soul from the heart of it all.

Serenda is a London-based DJ and producer of Guyanese and Greek heritage, known for her rich, eclectic sound rooted in house but never confined by it. Her sets fold between soulful depth and experimental edge, always delivered with a bold, contemporary vision.

Her sets are grounded in rhythm and instinct, built less around genre than sensation. She blends percussive house, warped club music, and raw, organic textures; crafting dancefloors that feel immersive and visceral and emotioanlly charged . There’s a physicality to her sound that edges toward the primal. For Serenda, DJing is a form of play - fluid, responsive, and deeply connected.

She deconstructs and distorts house music with intent, letting in pressure, dissonance, and emotional rupture. Her sets draw on the “timeless mindless states” of Mancuso’s The Loft, unfolding as rituals that don’t smooth over the chaos, they work with it.

Following the release of her debut EP The Prophecy on Josh Caffe’s Love Child label, she made her mark with a headline show in Fabric’s Room 2 and a Rinse FM residency. A regular in London’s queer underground, Serenda is also shaped by New York’s experimental club scene, where experimental sound and unfiltered expression mirror her own ethos.

Afro-diasporic and South American ritual in tension with city life, instinctive rhythm against digital overstimulation. Her fascination with world-building and quantum physics runs through everything she creates, fusing sonic design and sensory experience into one evolving landscape

2025 Repress


Australian music devotees András and Instant Peterson hold a candle to overlooked avant-pop and electronic works by antipodean artists and outsiders working through the 80s and 90s. Through co-presenting weekly radio show Strange Holiday, the duo slowly upturned their locale for inspiration - archives, country bookstores, private collections and convenience stores, searching for a place to anchor their own identities in the oceans of the island continent. The 10 tracks acknowledge a minor history, passed on via a network of friends, friends of friends, the libraries of radio station 3RRR and more often than not, the artists themselves. Renowned mixed media artist Maria Kozic enters with the mysterious downbeat of Trust Me, her husband Philip Brophy responsible for digital and analogue sonic construction. A recurring character in András and Instant Peterson's investigations, Brophy reappears with a score piece from his divisive feature film Salt, Saliva, Sperm and Sweat, recorded as (pronounced 'Tch Tch Tch"). Other links are thread under the surface. Melbourne inner north experimentalist David Chesworth explores his Australiana songcraft leading Whadya Want. The short lived project also featured Philip Jackson, whose husband-wife duo The Couch is restored from Fast Forward's dance issue - a pioneering cassette fanzine published by early-80s 3RRR personality Bruce Milne.

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

Norman Connors' Mr. C is a masterclass in sophisticated modern funk and boogie-infused soul that was way ahead of its time. Originally released in 1981, the album finds the renowned jazz drummer/producer at a creative crossroads, boldly diving deep into street-level boogie-funk without losing his soulful, jazzy touch. What once might have puzzled jazz purists now delights soul/funk aficionados; it has quietly become a cult favourite and now, nearly 45 years later, Mr. C sounds fresher than ever. Brimming with infectious heavy funk, lush arrangements and soul-stirring performances, it's an album that flirts with perfection, ensuring its enduring significance in the boogie/jazz-funk-soul canon.

From its opening moments, Mr. C makes one thing clear: this is Norman Connors at his funkiest. The majority of the album is a straight-up party: think dancefloor-ready beats complemented by punchy horn riffs and slick early-80s boogie vibes. There’s heavy use of synths and drum-machines, demonstrating Connors' gleeful embrace of contemporary funk trends. Each track shines in uniquely thrilling fashion, showcasing Connors’ versatility and happy knack for blending genres whilst crafting unforgettable melodies.

Irresistible thumper “She’s Gone” opens the album with a dyno-Rhodes electric piano groove and a seriously thick boogie-funk rhythm. Lush string accents and horn stabs weave through the funky bassline, while the vocals (handled by a young Beau Williams) soar with gospel-tinged emotion. Over four decades later, it endures as a masterpiece. Living up to its name, the shimmering “Party Town” brings deep Electro-Funk Energy by layering bubbling synth bass and shiny lead synth lines. The groove is downright addictive, a brisk, brass-kissed jam that implores you to move. Up next, the sophisticated funk of “Keep Doin’ It” is a low-slung post-disco glider, propelled by a sleek vibe, leaning into the late-night boogie sound. Funky guitar, tight drumming (with Connors’ jazz-honed chops in the pocket) and smooth vocals urge you to “keep doin'” whatever it is that's working. “Stay with Me” works a bit of island flavour into the mix, riding a thick Caribbean groove complete with tropical percussion and an upbeat tempo that could almost be calypsoul. The fusion of Caribbean rhythm elements into an R&B context demonstrates Connors’ willingness to experiment with global sounds while keeping things soulful and danceable.

Side B opens with the sassy funk-deluxe workout, "Anyway You Want" dripping with that soulful strut. Bringing a real quiet storm swagger, “Sing a Love Song” slows the tempo ever so slightly into a sexy, swaying jazz-funk gem, featuring a young Glenn Jones on lead vocals. The arrangement is elegant, built on warm keys and an undeniable groove. The celestial “Love’s In Your Corner” is all about soulful uplift. Featuring the legendary Jean Carn's powerhouse vocals soaring over a brass-kissed driving funk, it's an R&B burner. The refined, jazzy instrumental “Mr. C” is a slinky, smooth, funk-filled mid-tempo groove, with sax and warm keys gliding effortlessly. Connors combines jazzy arrangements into the post-disco/boogie framework one last time, and the result is sublime. It’s sophisticated and cool and, as a finale, “Mr. C” wraps up the album in classy style.

On release, Mr. C flew under the radar but time has been exceptionally kind to this record. DJs, collectors and soul connoisseurs alike have since rediscovered its magic. As ever, this crucial reissue has been lovingly remastered by Simon Francis, cut by engineer of the year Cicely Balston at Abbey Road Studios and pressed to perfection by Record Industry in Holland. Norman Connors was something truly extra. He was a visionary. And Mr. C is proof.

raum…musik welcomes Italian producer Santos for his debut on the label with Human Factor EP — a versatile four-tracker blending tech house, deep house, minimal, and acid, crafted with the finesse of someone two decades deep in the game.

The EP opens with “Some We Are,” a deep acid house track driven by a steady groove, bubbling 303s, and teasing vocal snippets. Atmospheric pads and warm chords emerge as the track evolves, balancing dancefloor function with rich detail.
“Paragonal” shifts gears with sampled breaks and emotional synth stabs layered over a 4x4 pulse. Hazy vocals and spacey effects give it a bright, euphoric edge while keeping it floor-ready.

On the B-side, “Done Everyday” leans into swing-heavy deep house territory. Shuffled hats, micro-programmed percussion, and a solid sub-bass glue everything together — minimal house with punch and precision.
“Kink In Me” closes the record with a more experimental mood. Sparse and hypnotic at first, it patiently unfolds into a deep, quirky, and rhythmically rich groover of jazzy chords and dubby textures.

With Human Factor EP, Santos delivers a polished and dynamic record that speaks to seasoned diggers and fast-moving dance floors alike. raum…musik continues its tradition of top-shelf, club-focused curation with this timeless release.

180g
Repress

Supported by Deepbass, Svreca, Pris, A Sacred Geometry, Amandra, Etapp Kyle, Takaaki Itoh and Abstract Division to name a few.

The Hypnus clergy is proud to present the 6th solo record by Feral. 'Ultraviolet Radiation' throws us head first into a sound that's been brooding for a time and now finally started to blossom, revealing the massive potential of this gifted producer. Those who heard his contribution to our latest Various Adepts record or have managed to catch one of his mind-bending live performances will recognize his uniquely psychedelic deep techno sound.

Marked by an awakened sense of depth, Feral consistently carries a thread of spirituality throughout his work. Embodying the sound of deep techno through his passion for audio engineering, hardware experimentation and fascination for percussive instruments, as well as an affinity for the shamanic becomes apparent when we swirl in tribal timbres and rhythms.

Finding comfort in the solitude of his studio; the sounds of Feral unearth the path of his multidimensional world, transporting the listener to a haunting, yet grounding refuge within.

Shawn Rudiman returns to Pittsburgh Tracks with his first full length since 2021’s Flow State.

“Reality in Quotes” is a complete statement from beginning to end... in the artist’s own words:

"Our perception, rational thought and intellect are the only way we discern what we even dare call reality. You can use any information you like, but we make our own realities from moment to moment.

Thank you to: my lady for understanding me; Pittsburgh Tracks for the friendship and wanting to release this album; Chase Smith for the great equipment help; Angie Linder / DTM for the live gig help and representation.

Thank you to everyone who has supported this release, and any release I've done over the last 27 years. It's humbling to still be able to make music and to play out.

Reality is the only word in the language that should always be used in quotes."

Das Debütalbum des enigmatischen Kollektivs Danzón El Gato stellt einen faszinierenden Dialog zwischen Jazz, Funk und Roots-Musik her. Gegründet im Untergrund der Madrider Experimentalszene, gehen die Mitglieder vom Groove aus, um Traditionen zu erkunden. "El Sonido Bastardo" ist ein Kaleidoskop aus Rhythmen, Landschaften und Echos aus Nordafrika, den Tropen und Lateinamerika, verflochten mit einer rockigen Rhythmussektion, die gleichermaßen von 1970er Library Music wie dem Hip-Hop inspiriert ist. "El Sonido Bastardo" fängt die Essenz eines kulturellen Schmeltiegels im ständigen Wandel ein, dessen Musik in der Tradition verankert ist, aber gleichzeitig einen kosmopolitischen und überschwänglichen Look aufweist. Die beiden Kernmitglieder Javier Adán und Santiago Rapallo schrieben in der Vergangenheit experimentelle Stücke fürs Kino und das Prado-Museum.

Soul Flip is back with the 18th chapter of this apparently never-ending story! And this time, Mr Soul Flip himself Del Gazeebo welcomes the return of super-producer Wonderlove for backup.

First up, Del gives his full attention to the Pointers Sisters' "Send Him Back" - a firm favourite with the Northern Soul crowd back in the day, and respectfully freshened up for 2025.

As you probably know by now, we love a "version", so on the flip, Wonderlove breathes new life into Johnny Mathis' cover of Willy Bobo's "Evil Ways" in devastating fashion.

Early support from Craig Charles Funk and Soul Show on BBC6 Music.

TRSN hits release number 36 with a statement from one of the Netherlands' most promising new names. Groef steps up for his full solo debut on the label, delivering four meticulously crafted originals that twist and stretch the parameters of hypnotic, high-impact techno. Fresh off the back of appearances on Delirium Vol. II and a breakout debut EP on Bipolar Disorder, Groef showcases his signature blend of raw textures, tightly-wound percussion, and heads-down momentum. Rounding out the EP are two heavyweight remixes from French powerhouses Bours? and Ferdinger, adding their own flavour while keeping the energy locked firmly to the floor. A bold and confident six-tracker that marks Groef as one to watch.

This 1998 album compiles unreleased sessions from the late 70s featuring Weldon Irvine, Don Blackman and a young Marcus Miller. Known for his rare groove classics like Spirit Man in 1975 and Sinbad in 1976, Irvin's work shines here and highlights come thick and fast. They include the soulful 'Morning Sunrise' which was famously sampled by Jay-Z and Drake, the jazzy funk of 'The Sisters' with Miller's bass and Tom Brown's trumpet and the smooth 'Heard It All Before' which mixes urban sophistication with mellow fusion. Toni Smith's dynamic vocals on the funky 'Think I'll Stay A While' is another doozy which makes this masterpiece rich with jazz, soul and funk goodness.

VHF debut and second widely-available LP by Liam, part of a new generation of underground “American primitive” guitar players serving the traditions and smashing them up simultaneously. Prodigal Son is a portrait of an artist on the road, changing fast, recording things as they spring from the fountain. The sound here is raw – grass and dirt instead of pre-fab; homemade/handmade instead of high-tech, etc. There’s a visceral quality and immediacy of culture that’s being lost every day in modern life – Prodigal Son is a chance to grab some of it back. “Palmyra” has Liam on weissenborn-style lap steel, the sound fuzzed out and distorted by the guerilla recording technique. “Salmon Tails Up The River” stretches out to nearly 13 minutes, a dense meditation on 12 string that sustains a dark and heavy mood for the entire duration. On the B side, “Insult to Injury” reverses the mood, with an elegant and unhurried 12 string sequel of deep beauty. Liam’s unexpected take on Loren Conners’ “A Moment at the Door” is a perfect translation of Loren’s reverb-heavy electric drift to unadorned acoustic (and tape hiss) – a frozen moment of absolute grace. Wrapping things up is a take on “Old Country Rock,” with fiddle and banjo, just a brief taste of the barnstorming old-time sound of Liam’s touring trio.

Waking Dreams are Back

Excited to announce our second release, “CHANGES” — a key moment reflecting a shift in perspective and direction. The EP features 3 new tracks from AGELESS and a groovy remix by Panorama Bar queen PARAMIDA.

It’s my first time diving into faster, 90s and early 2000s-inspired sounds. Big thanks to my friend Elliot for pushing me out of my comfort zone.

Thanks to all the people involved
Claudio , José and Marco for the mastering !

The moment the instantly recognizable intertwined guitar passage on the title track to the Eagles' Hotel California begins, the record's genius becomes obvious all over again. Ranked the 118th Greatest Album of All Time by Rolling Stone, certified by RIAA as the third best-selling LP in history, and considered the foundation on which the Golden State's mid-‘70s music scene was built, the 1976 landmark is a music staple immune to shifts in trends, eras, and styles. Fearlessly addressing the chaos and consequences of American life, its songs remain strikingly prescient and gain creedence with each passing day.

Mastered from the original analogue master tapes, pressed on MoFi SuperVinyl, and limited to 17,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set ensures you will want to permanently check into and never leave this particular Hotel California. Up to the herculean task of standing head and shoulders above all prior reissues, this collectible edition plays with extreme clarity, organic richness, tube-like warmth, massive dynamics, and microscopic levels of detail. You'll be able to practically smell the colitas and feel the breeze in your hair. Songs come across with an epic sweep and feature immersive, front-to-back soundstages that allow the music unprecedented air, roominess, and separation. As for the noise floor? It's basically as invisible as the spirits that waft in the corridors of the unforgettable title song.

Aesthetically, the premium packaging and presentation of the UD1S Hotel California pressing befit its esteemed status. Housed in a deluxe box, it features gorgeous foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes.

Indeed, the opportunity to zero in on all the particulars of the 26-million-selling Eagles record dubbed "a legitimate rock masterpiece" by vaunted Los Angeles Times scribe Robert Hilburn has never been better. A global phenomenon that marked the band debut of guitarist-singer Joe Walsh, Hotel California continues to resonate and connect with listeners of all generations taken by its narrative depth, stark directness, picturesque melodies, daring majesty, and ardent emotionalism. Adorned with a breathtaking exterior photograph of the Beverly Hills Hotel that serves as the simultaneously haunting and alluring cover art, and rounded out by a rear-cover shot of the Lido Hotel lobby that reinforces a notion that teeters between permanence and transience, Hotel California is brilliantly tied to a specific place that functions as a universally understood metaphor for the American Dream.

Confronting the darker undercurrents and oft-ignored constructs attached to that romantic notion, the record's songs revolve around a host of shared themes: excess, mobility, stability, illusion, fame, destruction, and idealism included. Notably, Hotel California appeared at a crucial junction in American history: During the country's bicentennial and amid escalating controversies related to the Vietnam War, energy crisis, and governmental corruption. That the Eagles manage to channel such cultural, social, and economical matters into a cohesive, stately, big-picture statement is alone a stupendous feat. That the album's reach, boldness, vitality, accessibility, and understated intensity have never waned make it a marvel.

Reflecting on Hotel California 40 years after its original release, and indirectly explaining its enduring appeal and increasing relevance, singer-songwriter Don Henley confirmed the record pertains to the "loss of innocence, the cost of naiveté...the difficulties of balancing loving relationships and work, trying to square the conflicting relationship between business and art; the corruption in politics, the fading away of the Sixties dream of ‘peace, love and understanding.'"

It can be argued that Henley and company squarely hit on and drove home those ideas in the surreal title track, chart-topping "Life in the Fast Lane," and grand "The Last Resort" alone. But that would miss the forest for the trees. Experienced as an unbroken whole, complete with the pristinely shot imagery and physical grooves, Hotel California unfolds like a geography-conscious saga by James Michener and plays like colour-saturated movie shot on 70mm film by Martin Scorsese. It's about our collective and individual decisions – and the shape of our past, present, and future. And, just like that conjured by our imaginations, Hotel California continues to take on a life of its own.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

collecting orders for repress be fast to grab your copy!

Baby Ford and Zip locked themselves in the studio after january's "Get Perlonized.." party in Berlin and the result is this 12" with 2 very special tracks. The A-side, entitled "The Riverbed" doesn't lack those subtile, humorous details that we already know from productions of this duo.The B-side offers a new, extended version of last years constribution for the "Superlongevity4" compilation entitled "Morning Sir".

collecting orders for repress be fast to grab your copy!

Thomas Melchior and Peter Ford; the glorious dreamteam supply us with a new 12" from SOUL CAPSULE. The duo founded this project back in 1999. The results were released through Trelik and Aspect Music. Besides that you'll find remixes for "Music for Freaks", "Ricardo Villalobos", "Swag","Sven Väth" and "Pantytec". The first appearance on Perlon was the constribution of the song "International Party People" for the labels 4th part of the "Superlongevity" compilation last year. Opener and titletrack "Waiting 4 A Way" marks the essence of a 42 minute session, recorded just lately in Berlin. There will be some sort of limited release in the close future, featuring additional versions of "Waiting 4 A Way". Watch Out! "Beauty And The Beast" on the flipside is one of those timeless compositons, that could also run for about 8 or 9 more hours, guiding us to the inner core.

collecting orders for repress be fast to grab your copy!

Stephan Laubner a.k.a. STL with 3 new tracks for Perlon.Following his latest fantastic releases on his own imprint "Something-Records", we are more
than happy to get "Lost In Brown Eyes".

2025 Repress

Chlar returns to his Primal Instinct label with 'Modern Survival'

Following the widely praised Funk Assault (Chlar & Alarico) 'Minimum One Post A Week' EP, which kicked off the Primal Instinct label last summer and won the support of the likes of Rodhad, Tasha, and Luke Slater, as well as routine plays from Sarah Story on BBC Radio 1, Chlar now returns to his imprint with solo venture 'Modern Survival'. While the first Primal Instinct release saw references to artist urges and behaviours on social media, this next instalment explores a modern recontextualisation of humanity's hierarchy of needs in yet another high-concept EP.

First up, 'Internet Soulmate' boasts a crunchy bassline as its drum work chugs along the track playfully. The groove twists and turns before the hypnotic and tribal 'Supermarket Hunting' continues with sounds of nature, loopy rhythm and syncopated bleeps.

On the B-side's 'Body Control Officer', human-made grooves intertwine with machine-like thrum, synths whirring and zapping, while 'Competitive Influencing' takes off with rolling percussion, subtle whistles and distorted vocal one-shots. Closing out another stellar offering from the Primal Instinct frontman, Chlar brings the dark 'Scout My Algorithm', a brooding slow-burner offset by smooth arpeggio snippets and warped slices of digital noise.

"In an era where technology entwines our everyday existence, where the virtual realm shapes our interactions, and where the pursuit of influence takes centre stage comes an EP that delves deep into the modern tapestry of human existence. 'Modern Survival' is not merely a collection of songs and visual clips, but a poignant reflection on the intricate dance between our primal instincts and the brave new world we navigate today. The EP invites listeners on a journey of self-discovery and reflection, prompting them to ponder the fundamental essence of our existence in an environment of fast-paced technological evolution." - Chlar

Blending British techno and hyperpop with the Baile Funk and samba of singer Paula's native Brazil, PPJ are considered by British magazine NME to be one of the most innovative bands of the moment.

The double EP "Bloco Vol.1 & Vol.2" tells the story of the band's journey to Rio de Janeiro, far from the postcards we know of Brazil.

"One of the most innovative new names around" NME

"A fascinating and exhilarating blend of neoperreo, techno and electroclash from a group to watch" RESIDENT ADVISOR

"Kaleidoscopic techno-pop" DJ MAG

"A real anti-depression remedy"LINE OF BEST FIT

"Their main goal? To make everybody dance" METAL MAGAZINE

‘It’s hard to find an act as distinctive as PPJ » MIXMAG

The first Garbage Pail Rekkid by legendary canadian producers Rave Alarm (Gobs and Virus) sold out so fast we barely had time to stock it! So for this second one, we ordered a few more, and this is now available in limited numbers in this awesome color format! Never to be repressed, this will be gone before you know it!

The Armenian electronic underground has been quietly brewing something visceral. After years navigating the labyrinth of electronic production from his Yerevan studio, Dave N.A. strips away the excess to reveal six raw, uncompromising cuts that pulse with quiet intensity. Not the manufactured urgency of algorithmic dance floors, but the honest tension of someone who’s spent years refining his craft while the scene evolved around him.

Following his debut ‘Altura EP’ on no•id, where collaborations with freq444 showcased his ability to merge Armenia’s electronic scene with Brussels’ underground pulse, Dave N.A. returns with ‘Echoes EP’ after the label’s necessary creative hibernation. This isn’t about comebacks or grand statements. It’s about persistence. About the kind of restless creativity that emerges when you’ve been grinding in relative obscurity, releasing on labels like Uppers and Downers, Typeless, and Elicit Records, slowly building a sound that refuses easy categorization.

The EP opens hard and unexpectedly with “BLINK,” delivering a throat-cutting and all-consuming bassline. “ECHOES” builds around atmospheric sounds and percussive elements, driven by a straightforward yet effective drum sequence. “SHADO” ventures into darker and faster territory with sparse drum programming and heavy sub-bass emphasis. Both “RUSH” and “ORB” unleash torrents of unrelenting breaks, each percussive hit landing with surgical precision as sub-bass currents pull everything forward into hypnotic repetition. “HUNTER” closes the journey, stalking into frame with predatory low-end and razor-sharp hi-hats slicing through dense atmospheric fog.

The no•id ship continues to chart its course through Brussels’ underground, prioritizing artists who value craft over hype. With Dave N.A.’s return, the label reinforces its commitment to electronic music that functions on multiple levels: cerebral yet visceral, local yet universal.

After a six-year hiatus, Efdemin returns with POLY — his fifth studio album, released on the recently revived Berghain-affiliated label, Ostgut Ton.

As the title suggests, POLY explores multiplicity: of rhythm, texture, style, and emotion. Across eleven meticulously sculpted textures, the album weaves a multidimensional web of sonic references, nodding to the origins of techno while pushing resolutely into uncharted terrain. POLY feels like an afterglow—of decades on the dancefloor, of restless sonic exploration, and of a profound connection to the spaces and communities that have shaped Efdemin’s sound.

Over the course of 60 minutes we are taken through different territories and landscapes of sound. Mysterious and swirling, abstract and droning textures over at times fast and stoic rhythmic concepts. Sometimes the sunlight breaks into the opaque and mysterious soundscapes before the pulse is taken over and sucks us back straight into the club.

The overall tone of POLY is mild and playful, introvert and at times dreamy. The music is rich in sonic expression and breathes the spirit of musical concepts that have been refined over the course of decades. What Sollmann has condensed here feels like a culmination of his multilayered and polyphonic personality situated between Club, Museum, Studio and Academy.

The album cover features a striking photograph of a human ear by renowned German artist Isa Genzken. Known for her radical visual language, Genzken’s work here functions as a metaphor for deep listening. The ear symbolises the layered complexity and immersive quality of the music on POLY — an invitation to perceive sound in all its depth, fragility, and force and unlock it’s potential to unite different voices in a distorted reality.
Nach einer sechsjährigen Pause kehrt Efdemin mit POLY zurück – seinem fünften Studioalbum, das auf dem kürzlich wiederbelebten Label Ostgut Ton, dem in-house Label des Berghain erscheint.

Wie der Titel vermuten lässt, beschäftigt sich POLY mit Vielfältigkeit: von Rhythmus,Textur, Style und Emotionen. In elf Stücken webt das Album ein multidimensionales Netz aus klanglichen Referenzen, das auf zurückliegende Ansätze der Klubmusik verweist und gleichzeitig entschlossen in neues Terrain vordringt.

POLY wirkt wie ein Nachglühen – von Jahrzehnten auf der Tanzfläche, von unermüdlicher klanglicher Erkundung und von einer tiefen Verbindung zu den Räumen und Communities, die Efdemins Sound geprägt haben. Im Laufe von 60 Minuten werden die Hörer*innen durch verschiedene Territorien und Klanglandschaften geführt. Mysteriöse und wirbelnde, abstrakte und dröhnende Texturen über teilweise schnellen und stoischen rhythmischen Konzepten. Manchmal bricht das Sonnenlicht in die undurchsichtigen und geheimnisvollen Klanglandschaften ein, bevor der Puls wieder die Oberhand gewinnt und uns direkt zurück in den Klub saugt.

Der Gesamteindruck von POLY ist mild und verspielt, introvertiert und manchmal verträumt. Die Musik ist reich an klanglichem Ausdruck und atmet den Geist musikalischer Konzepte, die im Laufe von Jahrzehnten verfeinert wurden. Was Sollmann hier verdichtet hat, fühlt sich wie eine Kulmination seiner vielschichtigen und polyphonen Identität an, die sich zwischen Klub, Museum, Studio und Akademie bewegt.

Das Albumcover ziert die Nahaufnahme eines menschlichen Ohrs der renommierten deutschen Künstlerin Isa Genzken. Genzken´s Arbeit wirkt hier als Metapher für deep listening. Das Ohr symbolisiert die vielschichtige Komplexität und immersive Qualität der Musik auf POLY – eine Einladung, Klang in seiner ganzen Tiefe, Zerbrechlichkeit und Kraft wahrzunehmen und sein Potenzial zu erschließen, widerstreitende Stimmen in einer verzerrten Realität zu vereinen.

First-ever physical release from internet sensation Jimothy Lacoste, recently sold out Colours (250 capacity venue in Hoxton) in one hour, he’s played Glastonbury, has been featured in The Guardian, New York Times, and currently has over 60,000 monthly Spotify listeners, and over 125,000 followers on Instagram. He will be promoting the release on there as well, directing people to stores….

Next in the We’re Going Deep label series, he welcomes 4 tracks of completely fresh material from a relatively unknown Italian producer, Davide Tonini. Hailing from the much fabled Adriatic coastal party town of Rimini in Italy, Davide has been shaping and sculpting Electronic sounds for well over 3 decades now. Having first started releasing music under his ‘Wet Basement’ alias back in 2015, his sonic palette traverses IDM, Techno, Deep House, Acid and Ambient soundscapes.

Having spent decades honing his practice, he has both self-released his music and worked with the long standing Odrex Music in Berlin. And there’s something deeply irresistible about his output that screams class and quiet dedication. In his own words, in around 2005 he got into the world of Eurorack and a few years later, Serge Modular. Since then, he’s been totally hooked...

In more recent times, Davide has recorded and released 2 digital LPs worth of material for ‘Detroit Underground’ under his own name, so it seems fitting that We’re Going Deep are now hosting a debut 12” cut – offering up 4 cuts of trademark sumptuousness. Bringing together the best of influences that touch on the likes of Aril Brikha, David Alvarado, Deepchord, Convextion and Basic Channel, he weaves together their respective magic to a new whole point of inflection that is both of this world and the other. All tinged with a warmth and smile that could only originate in Mediterranean climes.

The aptly named ‘A-1’ kick starts the EP in fine fashion as shimmering chords cut through rays of floatingly filtered synthesis, all beautifully dubbed out to a steady rolling kick and neatly shuffled high-hats, with precision bass notes interjecting to add an additional layer of funk. With bliss set to maximum, this is nothing short of genius. Followed by ‘Bilateral’, Davide offers a touch more space and lets the bottom end lead, whilst neatly filtered chords flicker to and fro - seeping their way into your consciousness as the tight drum work brings you to groove mode.

On the reverse, ‘Drive’ burrows further into emotive depths as Davide bathes you in layers of dub and twinkling melodics, all passed through a hazy film of goodness. Rounding off the EP with the deft touch of Distanze Logaritmiche – a soft roller that steeps you in undulating chords and cavernous effects. This is high class music that deserves patience and your attention to reap the ultimate rewards from a true master of his craft.

The "TRACK TRAX EP" is the new vinyl of the "Computer Controlled Minds"
The yellow vinyl clearly indicates the direction – ACID!
As the name suggests, it will be a fast-paced race.
On the A side, our track days start with a driving track, it quickly becomes clear that this will not be a leisurely Sunday ride. It's going to be a tough race. When approaching the apex, it is always important to remain seated and open the tap slowly.
The second track is a confession of love to Kerb, he wants to be loved and touched. But this love also harbors great dangers. If you drive too hard over the limit, the Kerb will pay back mercilessly.
With B1, the DOWNSIDER brings ecstatic acid acceleration to the slopes. If the braking point is exceeded, it can fall massively to the ground. The experienced technoracer has everything under control and brings the necessary momentum to the next straight.
As the race goes on, the strength dwindles and a clean line becomes more and more difficult, but at the same time it is the key to the thrill. The struggle with body and machine becomes clear, every action makes the body burn. Giving up is out of the question, the race is only over with the chequered flag. But now off to the bar!
Last but not least on the B-side, two short bonus sounds for all mix DJs

The Computer Controlled Minds show their clear roots, ACID and hard RACE.
TCCM can be booked as a live act via insta: __NEXT_DOOR__. You will never forget the race!

Horsemen make their debut on Small Great Things with Southbound, a warm and colourful EP made to ease the winter blues.

Drawing from a wide palette of house influences, the record showcases the duo’s versatility and depth beyond a single formula. The release follows Horsemen’s first year as residents at Small Great House, the label’s monthly party at OXI Berlin, including its beloved summer open airs that helped shape the sound of this EP. Southbound also introduces their first collaboration with vocalist Guya.

While the A-side sets a relaxed tone with disco and jazzy influences, perfect for those summer open-airs, the B-side shifts firmly into club territory, delivering two dancefloor-proven cuts for the night.

The A-side opens with Make Me Feel Excited, an almost disco-tinged summer anthem driven by a distinctive sample. It is followed by Napoliballa, featuring Guya on vocals, a sun-soaked jazzy track with playful rhythms. The side closes with Lighter Days, a moody piano-led track that adds a deeper, more dreamy tone.

The B-side moves into club territory, with Running offering a driving, floor-focused cut led by a bold organ hook, followed by a faster, more club-oriented version of Napoliballa.

CMDRPX 011 LP We present our second LP with new artwork and cover art.
An LP featuring the best artists on the scene, combining various styles and musical genres.
Enjoy this super release !!!

House and techno's most innovative improviser, KiNK, lands on Mutual Rytm X.

Offering four more thrilling dancefloor weapons, the iconic talent lands on SHDW's new Mutual Rytm X Series to deliver the label's second release.

Legendary Bulgarian artist KiNK is widely regarded as one of the most respected live acts on the global scene. He is a noted tech wizard who creates loops on the fly, crafts killer drums and never fails to hypnotise dancefloors. He has released on almost every influential label of the last 15 years and taken his unrivalled live show to all corners of the world, often drawing on those sets to bring aspects and inimitable qualities from his performances into his tracks. This innovative approach has helped to solidify his reputation as a groundbreaking figure, inspiring a new generation of musicians and producers, and he once again showcases precisely why he's in a league of his own here with a first appearance on SHDW's newly minted Mutual Rytm X.

'Unicord' opens up this new EP in thrilling fashion with sleek, Detroit-style synth loops flashing up top as the heavy, pounding while warm drums drive things down low. 'Quantum Shake' brings 90s energy with new school sound deists - the dubby drums are fast and urgent, the synth craft is deft, and the percussion adds texture to a straight-up but sophisticated techno anthem. 'Pitch Down' then brings fantastically unhinged synth leads that spray and zip about the mix to boggle the brain. Rattling percussive loops and chunky drums keep things moving as those synths get even more wild. To close, the digital bonus 'Highpass Lowpass' is a masterfully muscular cut with rugged bass and taught synths interlinking to mind-melting effect.

Born from a profound devotion to the piano and a reverence for the organic flow of life, byt’ surprises listeners by presenting paths of sand, a remarkable creation by Amsterdam- based composer xico, offering sound and soul to those willing to listen beyond the surface.

Through the magic of experimentation, xico captured the fleeting beauty of the muse of improvisation, as described by Nachmakovich, transforming the ephemeral into something lasting. Performances recorded on the same old piano during the 2023 Kaalstaart Festival in the Netherlands have since evolved into a fully realized work.

A journey of nearly three years of dedicated silence that began with Telva’s intuitive recognition of xico’s voice, starting with an invitation to her radio show and blossoming into a captivating fascination with what unfolded. This process led to the art of shaping the selected live recordings into a collector’s item, now materialized as a limited edition of 200 pressed vinyl copies, forever remaining as an artistic memento.

paths of sand unfolds as an intimate reflection of music’s ability to hold what cannot be held, to speak what cannot be said, and to embody what can never be described.

"tilt your back
pay respect
hand on heart

we were raised without table,
without manners,

where is it we gather this time?


In ‘Of No Fixed Abode,’ Saint Abdullah and Eomac extend their experimentation with genre dissolution to press upon the tensions that exist between culture, place, and migration. This fourth collaborative LP addresses the inherent fluidity of cultural memory, accepting our inability to remain fixed in the past, and explores how best to carry its spirit forward into an ambiguous future.

Through extensive research into 50 years of Persian pop, they meticulously reinterpret the legacies of artists like Andy, Hayedeh, and Fereydoun Farrokhzad, refracting samples by way of gritty beat work-outs akin to more contemporary musicians like Rezzett and Madlib. Through extensive archival research and sampling, they recontextualise these iconic melodies, placing reverie and frenetic drum programming in conversation with one another in a fashion that seeks to express a sense of two disparate tendencies cohabiting together, all while refusing homogenization. This reimagining extends beyond mere homage, serving as a conduit for exploring the narratives of migrant experiences, both in the UK and globally.

Sonically ‘Of No Fixed Abode’ plays with new sampling techniques, utilising the quick-fire intensity of the Roland SP404 with the cool precision of digital DAWs, and features collaborations with drummer Jason Nazary, sound artist Aria Rostami (both New York based), New Zealand-based mHz, and a vocal collaboration with London-based artist and musician Raheel Khan."

Plying refracted rhythms with an exacting poise, Aerae arrives on Samurai Music with a fully formed sound that plumbs the depths between techno immersion and D&B beat science.

An accomplished, palpable tension runs throughout Nefanda, Aerae's second solo release. Following up on the meditative pulse of her debut album on Annulled Music last year, the Paris-based artist digs deeper into ominous atmospheres filled with evocative reverb decays and taut, dynamic drum work - tools she wields to Redner tracks with specific meaning, coded by the Latin framing that runs through all aspects of her musical output. Contemplating the ancient language as an inescapable part of her European roots, on Nefanda Aerae ruminates on external trials and inner impulses, and conjures a jaw-clenching soundtrack to match.

'Mons' (translation: 'Mountain') speaks to challenges, strength and spiritual ascent, marked out by an urgent thrum of conga slaps and a 4/4 kick around the 170 BPM mark that finds power in minimalism even at the relatively high tempo.
The title track opts for a more broken framework, pivoting pointed percussion around a deft sub pulse while turning up the intensity with an exacting poise.

'Nefanda' translates as 'unspeakable,' or 'too horrific to name,' and the fraught, synthetic wraiths contorting through the track convey the dread the title implies.
'Fovea' (translation: 'pit') burrows deeper into spatial design with a looming low end rumble and subliminal sound sculpture, shaping out a dark, introspective chasm tipped towards disassociation. It's a powerful statement in any setting, but the all-consuming bass feels especially crafted for full, physical sound system immersion.

'Phrenesis' (translation: 'frenzy') rounds the EP out in fierce form, building up a high-pressure arrangement from ambient beginnings with ruthless control. There's a sense of duality in motion between half-time and double-time rhythmic elements, every incremental shift adding to the intensity of the track with the elegant, impactful touch that has fast become Aerae's calling card.

Finding her own language within the dialogue between techno, D&B and dark ambient, Aerae's music makes a vivid impression thanks to the ideas and intention that drive her in the studio. Nefanda confirms her status as a leading light in deep, psychedelic dance music, making something extremely personal that also reaches out beyond notions of the self like all the best transcendental music.

Repress

Manchester's Cleric make a storming debut on Soma with a solid 4 track EP packed full of his heavy hitting, layered Techno.

Marco Faraone is the latest artist on DCLTD imprint with his ‘Open Your Eyes’ four tracker. 'Open Your Eyes': the title track combines roiling fast techno beats, with pizzicato 'plucked string' insistent, subtly dominating monotone strand throughout, all peppered with a deep male vocal command - 'concentrate', until the big breakdown's drop is heralded by female voice 'open your eyes' and a fast ride to the satisfying end. Uncompromising and invasive in the best way. 'Enigma': the techno beats ride alongside a resonant synth melody with an 80s vibe, hypnotic and upbeat, counterpointed by a touch of melancholy in the intruding high synth notes in the breakdown. A deep, danceable techno track with emotion baked in.

'Convert The Energy': Fast and dark, with a whomping beat, metallic percussion, and a repeating monotone phrase stealthily gripping the hearer, while urgent, deep male layered vocal riff - 'convert' - becomes a layered, processed vocal delivery of 'machine designed to convert energy', emphasis suitably on the last word. 'Haze': a stotting fast drum beat and hissy hi-hats underlie a repeating melodic synth phrase with a noughties trance feel, crescendoing into a plangent, almost-piano sound, punctuated by single notes like trumpet calls, clattery or jangling intrusions, mysterious and intriguing.

There is kind of a before and after when you wander into a Butthole Surfers show. That is a changing point in your life"" - Richard Linklater

"Butthole Surfers are the greatest live band of my lifetime" - Dean Ween

Live at the Leather Fly documents Butthole Surfers legendary live show. Mixed by guitarist Paul Leary, the album channels their ferocious stage energy into a speaker bursting cacophony across 21 unrelenting songs including fan favorites from "Human Cannoball" to "The Annoying Song".

When the people just gotta dance right now, Turbo Recordings will drop everything to fast-track the hottest, rawest music the moment the download links hit our Hotmail. Such is the case with rising Lithuanian superstar DJ JM’s moov EP, which contains five tracks so good they needed to hit today's streets today. To ensure the mind-churning efficiency and logistical brilliance needed to pull off this kind of turnaround, label life-giver Tiga slept and tried to bathe at the office for five straight days* before being hospitalized for "caring too much.”

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

Four exceptional remixes and edits, brilliantly fashioned by the enigmatic Italian collective, DMND Soundsystem.

ESSENTIAL ITEM
LIMITED EDITION
NO RE-PRESS

DMND EDITS - Support
- Ben Sims "Congrat guys, great EP, especially Bad Rouge"
- Daniel Wang "Toasted Jam is so groovy! A perfect 108 bpm boogie, with interesting sound effects, old school clarinet riffs and a great bassline. I'm going to play it out!"
- Sam Ruffillo "Bomb! Bad Rouge & Silvio Hot my favorites"
- Marcel Vogel "Very cool!"
- DJ Ralf "I really like all 4 tracks"
- Dirty Channels "Bomb guys ! send it!"
- Elado "Sounds dope! Silvio hot my favorite!"
- Matteo Diop "I love it, This is absolutely my vibe!"
- Laura Meester "Nice work! love the bad rouge one definitely my favorite!"
- Greg Gauthier "Very very cool!"

R.A.N.D. Muzik Recordings welcomes Sydney-based producer, Mtty to the label for an EP of techy, fun house.

SEVEN welcomes Seoul-based Suman, whose vocal-driven signature sound marks our seventh release. This EP, exclusively showcasing the talents of Korean artists, features longtime affiliates of Seoul's club FAUST and early friends of SEVEN. The B-side is enriched with two remixes by female artists, DAMIE and Mars Parck. While the opening track drives forward with a more energetic, fast-paced vibe, the remaining tracks on the A-Side embrace dreamy, laidback house grooves accented by slightly cheesy yet classic vocals - perfect for a daytime dance.

Robot Says E is a meticulously assembled four-track compilation that connects the tactile groove of dub tech house with the lucid propulsion of contemporary techno. The release is divided over two contrasting but complementary sides, presenting an impressive palette for those who move purposefully and listen intently. Side A kicks off in an immersive warm atmosphere; A1. Tvardovsky – Eleven and A2. Spectral Model – Plasma both deliver deep low-end foundations, atmospheric dub textures, and clean dancefloor-ready production quality. The sound is fluid, minimalist, and very physical; perfectly complimentary to subtle intensity and groove-based hypnosis.



On the flip, the energy shifts. B1. Rene Lorenzo – Reflections and B2. Kirill Matveev – Code Redeemed push off in much faster, gliding, terrain – where flow and high-speed rhythms embrace their high velocity, and deep repetition creates a trance-like state. This is techno that feels both expressive and “summer-in-the-city” active and is meant to enhance your sensory plates and keep you energized. Easily executed, future forward designed and mood-blissfully transformative, WRSE1 VA –What Robot Says E is not just a VA, it's a sonically-derived blueprint for refined dance music going forward.

After a few collaborations, Ignatius and DJ Bruce Lee return with a joint production: Horizon. A fast-paced, ravey breaky house track, accompanied by two remixes—one by DJ Bruce Lee on his own, and another by label regular and Vallecas stomper TR, who delivers a wild acid-infused version. The 12" also includes an old DJ Bruce Lee remix of Ignatius' Lowdown.

Following its release in 1997, ‘Remember Me’ was cemented as an international dance hit, peaking at #8 in the UK singles charts, as well as #2 in the American Dance Chart. Instantly recognizable for the iconic Marlena Shaw vocal samples and down-tempo chugging bassline, ‘Remember Me’ has gained cult status throughout the world as a dance-floor classic. Releasing the original over 20 years ago, the incomparable track has only received one previous official remix with Dutch producer and DJ, Franky Rizardo now injecting new life into an already seminal track also

The Dutch imprint has now asked non-other than David Penn to add his magic to this sure-fire repeat player!

Madrid based David Penn get to grips with the Blue Boy classic and the results are spectacular! Some of you may have already heard it on David’s recent Live lockdown streams all over social media?! Now you have been hand-picked to help break this house anthems!

Diese Vinyl ist ein absolutes Muss für alle Liebhaber nostalgischer Melodien und mitreißender Rhythmen.

RECORD STORE DAY EXCLUSIVE!

Late 70s Westcoast Yachtpop you can almost dance to!

Man nannte sie nicht umsonst die - Me Me Me Generation'. Die sehr von sich überzeugten bärtigen Musiker (und die Musikerinnen in wabernden Kleidern), die Mitte/Ende der 70er in L.A.'s Strassen rum hingen und sich selbst feierten. Der geschmackvolle Teil der Musik-Welt hätte diese Musikrichtung noch vor einigen Monaten nicht mit der Zange angefasst. Zu sanft, zu übertrieben, zu luxuriös, zu offen hedonistisch, zu ausladend. Zu unecht, zu gekünstelt, nicht authentisch, und dann noch diese unfassbaren Akkordwechsel...Aber ' Too Slow To Disco - vol. 1' hält sich nicht auf mit solchen alten Geschichten und Klischees. Wir alle wissen, sobald Musikgenres alt werden, scheinen die wichtigen, relevanten Teile auf einmal durch und diese Zusammenstellung versteht sich als Dokument eines fast vergessenen Teils der West Coast Musikwelt Mitte bis Ende der 70er Jahre.Es hat ein Jahr gedauert, die von uns ausgewählten, meist unbekannteren Songs aufzutreiben. Songs von Musikern, die damals gerade ihre ersten, oft wenig erfolgreichen Schritte unternahmen, bevor sie Jahre später mal eben eine Handvoll Welthits aus dem Ärmel schüttelten und die - grosse Welle' der Musik der kalifonischen Küste surften. Also, willkommen zu Volume 1 unseres sogenannten PRM (Personal Rediscovery Movement).

James Mac has had a breakthrough year with recent single’s, ‘Try Again’ & 'The Boy Is Mine', topping the charts and receiving support from the likes of Keinemusik, Cloonee, and Armin van Buuren. His new single, 'Breathe', continues to highlight his gift for creating immersive House Music with powerful vocals. The package also features his collab with Lazarusman – ‘Manifest’ and on the flip we have the 2 previous single’s as an added bonus.

Act Fast!

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Limited Super Sound 12" Single out in June 2025

The Chairman of Acid Norwich debuts on Offen with The Caustic Wymondham EP.
Four much beloved tunes to impress your friends.

AI for the Zoomers:

MOY, the groundbreaking artist/band/group, has set a new milestone in the music/entertainment industry with their latest record-breaking achievement. His/Her/Their newest [album/single/track], titled [Album/Single Name], has officially become the [fastest-selling/highest-streamed/most-awarded/etc.] [album/single] in [genre/category], cementing MOY’s status as a global phenomenon.

A1 Phaseacid
A2 Outburst
B1 Strange Geometry
B2 Platonic Solid

All tracks written and produced by Jonny Moy

Rhiza Semar returns with Scarlet Cloak, the second instalment from Dutch-Indonesian producer and label founder Hitam. Emerging from the depths of sonic experimentation, Scarlet Cloak continues Rhiza Semar's mission - blending club-oriented tracks with a left-field approach. With three tracks from Hitam and a remix by Nawaz, the EP offers a subtle nod to early 00's mental tribe, reimagining it with a sleek, contemporary, edge. Pulsing tentatively, Scarlet Cloak opens with delicate drum patterns, paving the way for gritty, heady sonic immersion. Meticulously crafted, faint and distant synths emerge on the horizon, orchestrating an ambience that conjures quiet anticipation - a peaceful wonder drifting through the shadows. Blissfully snaking into the next production, Nawaz remixes the track with a razor-sharp switch in tempo, locking the mental trip. Setting the pace for deep introspection, fast and obscure aquatic layers ripple, submerging the listener into dark, murky textures. Flashes of club lights dissolve into a distorted memory, intangible yet electrifying as Future Kill seizes the mind. Pangs of liquid acid spread through an aphotic tunnel of sound, while percussive elements pump the heart, mirroring the adrenaline rush before stepping into a cavernous rave. In Your Head spins forward, stripped-back minimal layers congregate, spiraling the EP toward a hard climax. Rough-cut textures and skittish vocals lay on a soft bed of snares, creating psychedelic dissonance. The atmosphere thickens and breaks with permeating, rolling kick drums, drawing this 10-minute odyssey to a close. Lose yourself in a sonic labyrinth as Hitam masterfully crafts Scarlet Cloak - a volatile minefield seeping with rude, mental, teeth-gritting energy. credits Words by Charlotte Hingley

Saphileaum (the pseudonym of Georgian multi-media artist Andro Gogibedashvili) is inspired by Georgian myths and legends, esotericism, earth, unity, truth and the secrets of the universe.

Over the past few years, Saphileaum has released a diverse array of albums and EPs on labels such as Good Morning Tapes, Oslated, Silent Season, Mule Musiq and Slow Life, each one reflecting his unique blend of cosmic expansiveness, tribalism and meditative storytelling.

On his first collaboration with P&F Recordings, he draws inspiration from mysticism, self study, ancient civilizations and their various cultures and mysteries.

These musings unite to create an immersive sonic experience that traverses cosmic and tribal landscapes, bringing us 'TAMALUNGMA'.

Here, the listener enters a mystical realm-space, where nature's precious spirits guide you through a journey of transition. As you walk this path, their wisdom and presence illuminate the way, helping you move closer to your true purpose.

Spanish techno titan Andres Campo is the latest artist to join the DCLTD ranks with his ‘Domaine’ four tracker. Conte Bleu: Full-on high speed techno attack with occasional industrial stabs, alternating with mysterious snatches of melody and echoing vocal heard as if through distant space, especially in the breakdown. Nuit Blanche: Fast breaksy beats with fluttering metal motifs and otherworldly vocal FX, all with a jazzy feel, and a long breakdown with a compulsive vocal riff crescendo. Ligne Jaune: Merciless beat with rattling, hissing percussive layers, with a muffled monotone processed vocal strand dominating the breakdown echoing, reverberating, up to the massive drop - before insane techno bombardment takes over once more. Pois Gris: merciless techno beats create a dystopian soundscape of spacey stabs and a repeated vocal ululation. Radio signal FX punctuate the invincible stomping percussion. Something dark is happening

The forthcoming Macadam Mambo is a very special one. It has been a while we were following The Jaffa Kid, from his first apparences on La Beauté du négatif, Deeptrax or Utter to Altered Sense more recently… checking his almost daily delivery productions on his soundcloud, always very amaze… so it went very naturally to contact him and start this project together. The process went so smooth, he was delivering amazing track after amazing track on a daily constant, going from IDM to Jungle, Break to Electro or Downtempo and Ambient. Everything with a very special sense for melancolic harmonies and rhythms. This is high class productions we collected here, 12 burners to make a magnificent double album in the intemporal vibe of AFX, ERP, Drexciya, μ-Ziq or Luke Slater’ 7th Plain, that won’t probably get aged.

Grab your copy fast as you can, this one will fly

Tartelet is pleased to welcome the tranquil acid delights of fast-rising Frankfurt-Leipzig duo not even noticed for a brightly melodic, rolling EP of positive party gear.

Since forming in 2020, the pair have won over a succession of well-established labels and dancefloors with their infectious, easy-going approach to acid and breakbeat. The mellow, soulful mood on their Aerial EP arrives as the perfect soundtrack to the brightening skies of Spring in the Northern hemisphere.

From the airy pads of 'Aerial' and the psychedelic chill-out breaks of 'Voidness' to the tough groove of 'Fidelity' and 'Affected's tightly wound electro framework, there's plenty of scope across the whole record without losing a grip on the warm and grounded mood that makes this duo such a resounding success wherever their music gets an airing.

Coming correct with an all-too-rare restorative quality to their tunes and a serious weight that comes to life over a big system, not even noticed are a perfect fit right here on Tartelet.

The 12-inch is limited to 300 copies and comes in a black sleeve with sticker.

For his second output on his own label, the Swiss electronic composer Robin Félix, takes this time the listener to West-Africa ; that said, Incantation is lightyears away from “world music”, but closer to the first “Fourth World” LP Jon Hassell recorded with Brian Eno. Moreover, Robin has teamed up with fellow Swiss sculptor, Christian Pauchon, who makes “woodoorina”, inspired by “bolis”, some rather objects used by the Bamanas in Mali and neighbouring countries, that ethnologists view as “fascinating mediators between man and his environment” ; a topic that led the Mauritanian Abderrahmane Sissako and Damon Albarn to compose the opera, The Theft of the Boli. Right from the outset of Goat Skin, one realises that Robin has applied his idiosyncratic way of (mis)treating field-recordings, to dissect and re-model an array of woodoorina calls (sometimes close to drones) entwined to a rhythmic pulse, conjuring up a starry night under which a shaman, adresses his incantations to the spirits of Nature. Robin Félix being who he is, as soon as Corten, his form of quiet electronics show that he is no stranger to Throbbing Gristle or Cosey Fanni Tutti, the self-explanatory Ritual Smoke taking it a little further. The spellbinding organic basses of Rains and Cauris, fused to textures that remind the experiments of David Toop and the electroacoustics of Pierre Henry, lead the listener even deeper into a contemporary avatar of a spiritual journey. In tune with the “call and response” mode, ubiquitous in African music, Pangi brings the EP even closer to the beating heart of the continent, the interactions of the sculptor and the composer blending to such a point that one may wonder if they have exchanged roles. As a meeting point of disciplines and art forms which are not supposed to meet, Incantation is also a convincing demonstration of what the word “inspiration” means, the superb visuals included ; of course, it requires a lot of finesse and respect on all sides

2025 Repress

Tobias Bernstrup is a contemporary musician and video artist born 1970 in Gothenburg, Sweden. He received an MFA from Royal College University of Fine Arts Stockholm in 1998. Using the visual language of pop culture, video games, sci-fi, classicism and gothic noir, he has created a stage persona with notorious live performances. Dressed in elaborate costumes of skin-tight rubber suits and fetish gear, Tobias' external appearance is androgynous. He raises questions about representation of identity, the body and physical space in both virtual and non-virtual realities. Between 1997 and 1998 he self-released two limited CD-R EPs. In 2002 his debut album 'Re-Animate Me' was released by Tonight Records followed by two limited 12' singles for the song 27' and the Italian version Ventisette'.
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27' is a 5-song EP collecting 4 different mixes of the title track plus one unreleased song from the 'Re-Animate Me' recording sessions. The material on this EP is closely connected with the world of computer games which Bernstrup also inhabits. Bernstrup's music is influenced by 1980s Italo disco and synth pop, reminiscent of Kraftwerk, Depeche Mode and Ken Lazlo. On the A-side is the original mix at 115 bpm followed by the Lazer Mix set to an faster beat and additional arpeggiations and heavier bass drum beats. Lyrically the song tells the story of a good looking 27-year old boy from a small town searching for love with any man who can spoil him. On the B-side are both the vocal and instrumental of Ventisette', the Italian translation of the song 27.' Both versions of Ventisette' are stripped back compared to the A-side but keep the melodies in tact. Also released for the first time ever is the demo Dirty Money' a Pet Shop Boys influenced song about male prostitutes ready for a night out working the streets.

All songs have been remastered for vinyl by George Horn at Fantasy Studios. For the jacket Eloise Leigh transformed the original portrait of Tobias into a Warhol-like painted polaroid with a striking likeness to Liza Minelli with blue eye shadow and red lipstick. Each copy includes a photo postcard with lyrics and notes. I would rather create alternative routes to experiencing and understanding the world, understanding what it means to be human today,' says Bernstrup. We are more artificial than we want to admit.'

For our next physical release, FERMA proudly welcomes Fragedis. A driving force in the local underground for over two decades, Fragedis is renowned for his eclectic, genre-blending, DJ sets and productions. Staying loyal to the craft and deeply committed to the culture, he is also co-hosting Healthy Summer in Crete, one of Greece’s most revered festivals for authentic rave culture.

This release features six tracks that perfectly encapsulate FERMA’s sound identity and forward-thinking vision. The A-side opens with “Teras”, an atmospheric piece with immersive vocals that lay the foundation for the journey ahead. “Thrust Reverse” cranks up the intensity with industrial-driven arpeggios, primed to ignite the dancefloor. Closing out the first side is a stripped-down reprise of “Teras”, reimagined by a legendary artist who has shaped the Athenian industrial sound – true name strictly confidential.

Flipping to the B-side, “Live in Lies” drifts into deeper territory, weaving atmospheric pads and trancey synth sequences for introspective, eyes-down moments. Bringing it all home, “Fasaries” delivers an electro spinoff that rounds out the release’s sonic character and journey.

We are beyond excited to share this release with you – play it loud, folks!

Nothing said new or modern or futuristic quite like a synthesiser in the 70s and 80s. If you were shooting an advert and you wanted your product or your company to appear forward-thinking and ahead of the game, then you would want something electronic, something out of the ordinary. When TV producers and advertising directors started searching for music that sounded like “Tubular Bells” – and then Tomita, and later Jean Michel Jarre – music libraries such De Wolfe, Bruton, Parry and Chappell had to have the tracks readily available.

Compiled by Bob Stanley, “Tomorrow’s Fashions” varies from advertising jingles and TV themes to space exploration and gorgeous, beatless ambience. Though it’s 40-to-50 years old there’s a real freshness to this music. Older jazz players Brian Bennett, John Cameron, Alan Hawkshaw and others seized the chance to operate a synth; younger pups including John Saunders and Monica Beale were simply intrigued by the new technology being wheeled into the studios. There’s a tangible sense of adventure.

“Tomorrow’s Fashions’” brand of electronica anticipated new age and ambient music. It also had both a direct and indirect influence on pop – the early Human League and the future sounds of Warp Records are all over this collection. Electronic library tracks have been sampled by everyone from MF Doom to Kendrick Lamar.

One person’s primitive and experimental is another person’s space-age lullaby. This was music made in the shadows – in Soho’s secretive music library studios – that has now become desirable and influential. The chances are chunks of it will be sampled and used on hit records that have yet to be written. If the musicians’ aim was to soundtrack tomorrow’s fashions, they couldn’t have got it more right.

Fashion Flesh tears the fabric of space and time. This is his first offering for the ESP Institute. With side A’s 'Atoms Revolt', ESP cordially introduces Fashion Flesh, AKA John Talaga, to the deepest corners of your mind. Using largely homemade electronics, circuit-bent gadgets, and tape manipulation, John manages to tap into the innate character of these otherwise introverted machines, eavesdropping and documenting their buried inner dialogue. His command of distortion is multi-tiered. On a micro level, he induces happy accidents and shepherds stray elements. Zooming out a bit, we begin to understand the sonic meat grinder that equalizes his bag of disparate ingredients. And from a macro vantage point, we fully recognize the greater tool that sculpts all of the above into form. Side B’s 'New Freedom' conjures a specific dystopian image—the byproduct of an artist involuntarily conditioned by the commute between up-river Bay County, Michigan and the Detroit metropolitan area. Like cutting away at flesh and muscle, breaking through the bone to suck the marrow, John depicts both the contrast and parallels between two post-industrial urban landscapes, the banal trek across The Thumb between them, and the gradual disintegration of agriculture as one nears the Techno city. Voice fragments begin to stutter in syncopation like radio frequencies interfering with our psyche, Geiger counters wail and moan, untamed oscillations mimic caged primates rioting at the zoo, and a steady-firing piston of drums struggles to break through a dense harmonic soot. The depth of personality John extracts through his manipulation process is remarkable— a point-of-view that foreshadows humanity’s looming technological singularity while hinting that it may have always been here, hiding in plain sight, waiting to be given a voice. These two songs will trip your circuit breakers.

This EP first arrived back in 2001 on the legendary Swiss label Acquit. It's a favourite of underground heads who appreciated it futuristic electro and techno styles and so now all these years later is getting a repress. It sounds as good as ever, with the thumping kick drums and sparse chords of Niels Jensen's 'Oasis' opening up in blistering physical fashion. Diego's 'Import' then roll on a more liquid and dubby rhythm and Sevn's 'Angelic' is a masterful bit of booming drums programming that is thrilling stripped back but inescapably effective.

Renowned producer Inkswel joins forces with R&B/soul vocalist Lyma on The Strength - a bold fusion of soul, hip-hop, and electronic grooves, out now on Feedasoul Records. Featuring a special boogie remix from Coflo, this EP blends futuristic rhythms with powerful vocals for a fresh and genre-bending experience.