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Derwin Daniels, Soprano Sax player and composer, made this little R&B 45 in 1989. Recorded with vocals by the unfortunately passed away La Donna Wells who brings a Mary J Level performance 3 years before "What's The 411" hit the streets. Slick, deep R&B that's soulful enough for modern soul and disco sets, what's not to love. Flipped with some Jazz Bizznes from Derwin, utter gold!

Killer wonky modern soul / disco out NYC written by Producer Alan Jones. Rathen than put the instrumental on the flip same as the og, we opted to put a mix with a lower vocal on the B-side, mostly because we wanted a mix to play out ourselves, killer modern 45, do it!

DJ Support: David Morales, Louie Vega, Hector Romero, Dave Lee ZR,Tony Humphries, Kevin Yost, Jimpster, Atjazz, Ron Trent, Dj harvey.

Considered the Master of Italo piano house, Don Carlos is up next on friends Micky More & Andy Tee's label Groove Culture Deep with an EP of Finest Classic Piano house.Features the amazing, warmup Classic House of ‘Italian Paradise Piano’ followed by the Deep heater ‘Soul Emotion' and The Garage Late-night ‘Good Emotion’(Vocal Mix) on the A-side. The flip offers ‘Paranoia’(Piano Edit) and ‘Good Emotion’(Paranoia Mix) both tracks perfectly capture the zeitgeist of house music's golden era of late 80’s early 90’s.

Sol Power Sound returns with an EP of two blistering (and rare) island disco cuts remixed by Bosq and the Sol Power All-Stars that will make you forget that summer has come to a close. Officially licensed from the estate of Nappy Mayers, who wrote and produced both originals, both tracks capture Nappy’s exquisite sound that dominated the Trinidadian discotheques in the late 1970s and early 1980s but never received the international acclaim they deserved.

Bosq, a long-time friend of the label, leads things off on the A-side with his fiery dance floor flip of Nadie La Fond’s “Three Way Situation.” In his classic yet understated style, Bosq adds just enough, enhancing the captivating groove, while preserving the true essence and of the original. Using both vocal and dub parts Bosq turns up the funk and transforms the tune into a blistering modern disco cut that works equally well on the beach, in a dark club, or at your favorite underground afterhours.

On B1, the Sol Power All-Stars present an extended disco dub of the 1980 Nappy Mayers tune “Let Yourself Go.” The Sol Power crew opts to work with the b-side version of the original, which bypasses the lead vocal and instead focuses on the synth-bass led groove, an unforgettable chorus, and powerful disco horns. Toss in some chopped up flute, guitars, and synth and you’ve got yourself a party. And did we mention drums and perc? Don’t miss the massive soca break that will take you straight to a carnival jam in the islands.

Alongside remastered extended 12” versions of both original vocal cuts, Trini Disco Dubs highlights the genius of Nappy Mayers, a legendary Caribbean songwriter, producer, and performer, through the lens of modern producers who are at the top of their game.

2024 Repress

All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.

The Check In brings us 006 by Duncan Thomas. Anyone operating in the world of deep minimal groovers have heard the whispers and tales of his genuinely unique grooves, blurring the lines of deep and soulful to light-hearted and bouncy.

Hard synth stabs and a punchy drum grooves open the EP through the A1 Espresso Tonic, a deep roller which is seductively euphoric. Then into Movin’ To The Sound which brings out the jazzy side of Duncan Thomas with synth licks and floaty chord progressions.

Flip over and you land on See You Never which leans to the festival forrest with heavy swing, a driving lead and laser sounding synth chords. Followed by the B2 Hello Out There which closes off the EP and is easily the most soulful of the four cuts. The repeating chord stabs are undoubtedly nostalgic and the bass-line routes the nostalgia to the dancefloor. This is a sunrise groove if ever there was one

The first edition of Era Specific Noise is both an ode to the early 2000s and the debut of a new alias by label founder Richardson. Having spent the better part of his recent memory scouring record stores and consuming more VG+ dance music than is medically recommended, this 12-inch marks a personal shift towards character-filled production without limitation.

Armed with a growing appreciation for the originality and love poured into old-school techno, ESPN001 is the first glimpse into Richardson's fast-growing stockpile of musical weaponry.

We kick things off with "Introductions", the first of two upbeat, vocal-laden pieces of DJ-friendly dance music that make up the A side. A new hardware-focused approach produces whirling, stabbing chords and a groovy baseline to meet the eponymous sample of this track. Up next, "Coming In Hot" which does just that - presenting a cohesion of warm, groovy techno littered with dubby synths and a throwback feel.

On the flip side is a pair of fresh takes reminiscent of the more functional sound of the era - the timeless, loopy techno that powers dancefloors worldwide. There’s nothing quite like finding a hidden gem on the B side! Robotic vocal loopings and a galloping low-end form “Notch”, a warehouse tune completed by a warmer feeling send-off littered with floating pads and a classic Reese bass. Closing out the release is “Synthetic Scream”, a synthesiser in anguish showcasing an almost mournful interpretation of the 909 era, complete with fast, driving percussion and classic break hits.

Welcome to Era Specific Noise - New school old school.

Time to welcome another newcomer to Freerange with a brilliant debut that has already been gaining a lot of interest from early spins. Stefano Ritteri should be a familiar name to many, having dropped several well- received releases on key labels such as Pets, Rockets & Ponies and Get Physical as well as his own monthly Rinse France radio show. A producer in the old school sense, he has the ability and desire to flip from deep, emotive and down tempo jams to the most impactful, high energy floor fillers, all with a deft touch and unique and experimental spin. The Italian producer, now relocated to London, has a studio chock full of vintage synths and hardware outboard which keep him inspired and ensure his output sounds fresher and fatter than most, as can be heard on this excellent two-tracker entitled A Different Happiness EP The title track is a spaced out, percussion-heavy jam which takes a minimal approach but wins hearts and minds with an ear-worm of a melody that gets gets you hooked in from the start. Snippets of spoken word add to the intense atmosphere making this one of those sure-fire, perennial tracks which can work in a variety of sets and still guaranteed to make an impact and stand out in the crowd. Flip over for Pocket Melody, another simple yet effective and inventive track which sees Stefano letting loose on his synths and coming up with some warped Zawinul-inspired vibes in the process. The playful melody snakes around in an improvised way whilst the dubby drums and classic analogue machine beats ensure everyone stays locked into it's hypnotic groove. Definitely a producer to watch for us and we're sure Stefano is on track to continue making some amazing music. We hope you love this as much as we do!

The Italian multidisciplinary collective CREA proudly presents "Crea Legacy 001" the debut release from its newly launched record label. This inaugural compilation is a powerful statement of intent, showcasing the diverse talents of CREA's resident artists from music to digital art. The record features four meticulously crafted tracks from no.name, Alarico, and Endrew, each contributing their unique sonic identity to this eclectic compilation, complemented by a 3D sculpture from 4C

Crea Legacy 001 kicks off with with Alarico's "Sleeping Dog" a percussive techno track that captures deep, primal energy perfect for peak dancefloor moments. No.name's "Tag" brings a sleek, minimalist vibe, driven by a bouncing bassline. On the flip side Endrew's "Rescue Of Airon" takes a more intricate approach, weaving in aquatic ambience with intricate sound design, while no.name's "District" rounds off the compilation with a playful and timeless hypnotic groove.

The artwork by 4C captures a personal representation of a hidden celestial body. The composition blends organic, fluid shapes with a cosmic essence, evoking the mysterious and dynamic nature of an unknown universe.

Andrea Ferlin provides 4 beautiful cuts for new HAZE release. Modulated stabs, rumbling pads, sliding baseline make OPIA a great tool for main hours, while ORGO is perfect for after-hours due to complex percussion polyrhythms and delayed sound structures. B-side flips the mood with DORF. B2- Morning Sunshine makes you feel like classic orchestra will start an interlude in a minute. Vinyl Only.

The 1980 space disco hit you probably never heard of. Now officially remastered including new stunning edits by Peaking Lights and Korkut Elbay. Picture sleeve with an outstanding painting by Antonia Freisburger.

'Inside' with loads of synths and some vocoder on top is a wild jam that is propelling more and more into a frenzy during its course.

Following the orginal is a dancefloor-edit by Korkut Elbay which puts the vocal part into focus. Korkut Elbay, part of the Cómeme camp and an integral part of Cologne's electronic music scene for over 20 years, crafted an edit in its purest form.

On the flipside Aaron Coyes of the California-based duo Peaking Lights stretches out the original and reaches higher grounds with his stomping rework. He gently adds some more keys and puts you into a trance with his soothing melodies. Now dance!

But what's the story behind this unearthed gem stone? In the late 1970s a marketing company owner faced an increasing competitve market and wanted to work indepently from the professional studios which were charging high rates for commercials back then. The solution was to build his own sound studio. So he set one up in the basement of his company in Saarbrücken, Germany. He hired a studio operator and a composer that got quite a reputation in the local scence back then and besides daily job routines 'Inside' was created.

The Midnight Rock label was home to some of the greatest productions of the era, and like any smart Jamaican producer, label owner Nkrumah Jah Thomas worked his rhythms hard, using them to create scores of records by dozens of artists. Sometimes the tracks that he created were released, but still more languished in the vaults. Caught on multi-track tape, but never released.

That was the fate of a session that he recorded with Sugar Minott. The singer - known in the UK for his monster hit ‘Good Thing Going’ - had made his name in the vocal group The African Brothers, before working as a soloist for Coxsone Dodd at Studio One. For the Acid Jazz distributed Roots Records, Thomas has worked hard in creating sharp new mixes for this single - a plea against gun violence as apt today as when it was put down on tape - the first fruits of that work.

A fantastic Radics rhythm with an exceptional vocal and brand-new dub by Jah Thomas and Rory on the flip. Adorned with the classic Midnight Rock label.

Jerome Hill returns to the long running Don't label (24 years strong) with a four tracker of big boned Techno/Booty music that swaggers along, at times with tongue in cheek and mainly giving no fucks.

On the A side, taking inspiration from Relief and Dance Mania records, 'All My Friends' meets the bombastic New-New-Beat rave stylings of 'The Ghost Of New Beat' while over on the flip, you're faced with 'Dog Booty', an obscenely filthy Ghetto Techno track that only your dog will understand, before finishing off with the Miami Bass apocalypse that is 'Blip Trick Track'.

Chita, the third album proper by Japanese guitar pop trio Usurabi, is their most elegant, stylish confection yet. Over the past four years, Toshimitsu Akiko (vocals, guitar), Kawaguchi Masami (bass) and Morohashi Shigeki (drums) have been recording, playing live, and releasing songs of rare melodic warmth, centring Toshimitsu’s unique musical vision, where melancholy and joy can co-exist, a split-second flick of her wrist switchblading the guitar from languorous sweetness to overloaded rock action.

Chita expands on the smartly sculpted pop and rock songs found on their previous albums, Remains Of The Light (2021) and Outside Of The World (2023), while infusing the music with more of the rough- housing energy that also coursed through the live CD, Once In A Red Room, they self-released in January 2024. There’s still a through-line, of course, that connects the music here to Toshimitsu’s earlier groups, Doodles and Animone, but Chita feels more deeply like a sussed, sharp take on the crumbling edges of sixties psychedelic folk and rock: the harmonica that blasts through the opener, “Bansho”, is pure Dylan in effect.

One of the many smart things about Usurabi, though, is that they never feel beholden to the historical moment. Soon after “Bansho”, we encounter “TurnOff”, a lush pop song that turns on a dime, with Toshimitsu tearing fuzztone notes from six strings that are like a more folk-reverent Kaneko Jutok. And there’s something about the guitar and bass riff that doubles through the thrilling two-and-a-half minutes of “Hakanonaka” that’s a dead ringer for the Only Ones. Flip the record, and things get more expansive, the spindly jangling of the title song spiralling ever inwards, before the sweet, sugary rush of “Kanata” resolves to the martial rhythms that pulse through “Aseranai”, winding the album down to its poetic, becalmed resolution.

Bologna born Italo Disco legend Celso Valli’s ‘Tantra’ project had one aim; to push the boundaries of disco! Released in 1979 in the vein of Cerrone and Giorgio Moroder, ‘Hills of Katmandu’ is a unique, progressive slice of classic Italo Disco. The pulsating ‘Moroder-on-steroids bassline’, menacing female vocal and warbling synths take you on a trippy disco journey. The track became a huge dancefloor anthem at legendary clubs such as The Loft and The Saint in New York and Baia Degli Angeli in Rimini.

Originally available on vinyl in 1982 on San Francisco’s “Hot Classics” DJ Service”, Patrick Cowley’s “Original Underground Mix” is a work of pure genius that unleashes his skills on the synths and somehow manages to surpass the original.

High Fashion Music have enrolled Ben Liebrand to restore all the original remix-tapes, managing to re-edit and adjust each and every nuance to perfection, taking away any and all flaws which appeared in the original and it’s acetates, so that it is now steady preserving the original Hi NRG sound. This is the first time this restored and upgraded version has been released.

On the flip-side, there is the original 16’20 minutes version of the Jurgen Koppers mix, an extended re-edit of the original Celso Valli version, which appeared first on Disconet in 1979, and in the following year on the US (Importe/12) release of the “Tantra – the Double Album” longplayer.

Smart Alex, the brainchild of Laurant Webb and Dave Coker from the iconic Housey Doingz, has unveiled a standout reissue single on Sushitech. Specially Hot is a massive house sound system track that has been a secret weapon for Fabric residents for many years. The A side also includes a groove-laden chugger, never before released remix. Blow Your mind on the flip side is an original massive dub tracks. This heavyweight release seamlessly blending the original London house sound with Sushitech's distinctive dub-based style.

XXCEPTION TO THE RULE - THE SWEETER THE JUICE b/w ANGEL IN DISGUISE

Daxwood Records out of North Carolina owned by music maestro Doyle Wood have recorded some real gems over the years.

From the Daxwood Studios, IZIPHO SOUL are proud to present XXCEPTION TO THE RULE, a female duo consisting of Vanessia Mathis and Daniela Curry.

On a 7” for the first time are two songs originally recorded in 1982.

THE SWEETER THE JUICE (Re-Titled for 2024) is an arousing dancer with a potent ‘squelchy’ bass sound and soaring vocals.

On the flip is ANGEL IN DISGUISE, a supreme ballad of it’s era, with Vanessia’s voice shining through; the piano solo by the late Eldridge McMillan is simple yet has so much feeling - Pure SOUL!!

These tracks are featured on a 2011 CD album - Xxception To The Rule ‘Then And Now’.

Although the seven-inch is the smallest of the vinyl formats, it can pack a real punch. This is certainly the case with Bordello A Parigi’s latest discovery, Real Velour. This mysterious outfit draws on a spread of influences for Champions. Warm strings of throbbing bass and crisp drums dawn into shining synthlines as elements of indie and synth-pop melt. Chords are addictive, memorable hooks of pure joy countered by bittersweet lyrics that tell a sorrow-streaked story of calamitous change and dead-end dreams. The flip sheathes the cold wave edge of the original, letting the superb synthwork sing. Bright and uplifting, embers of electro disco smoulder with italo in this intricate instrumental version. A stunning 7” that marries melancholy with melodies of better tomorrows.

Limited to 200 copies.

The latest 45 from Durand Jones & The Indications out on Colemine Records features two tracks from their previous LP, Private Space. The A Side features the album's title track and is a laid-back, string-enhanced, smooth progression where guitarist Blake Rhein plays minimal but on-the-money strokes. The flip is an uptempo, drum heavy beat with lyrics depicting heartbreak and longing. "Sea of Love" delivers on that smell good, look good, feel good '70s synth sheen arrangements, lavish string charts, and double-down confidence from a band who gets to move their core expertly into a different decade.

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

Courtesy Of Balance is the tasteful house label run by Brawther and it was back in 2019 in Lviv during an underground warehouse party that he first made contact with Laconica label founders Ocean and Sasha Pervukhin. They all hit it off and so were invited to showcase the deeper side of the house sounds of Western Ukraine, and the results make up this new EP with the artists taking one side each. Ocean T's opener is a psychedelic, trance-infused cosmic trip while 'What If' rides on crisp beats with some lush dubbed-out synths. On the flip, Pervukhin's 'I Hate This DJ' is balmy, heady deep house from up amongst the stars and 'TR 18 Blues' is a nice kinetic, lithe minimal house cut.

Now celebrating 20 years since the original release of 'Salsoul Nugget' in April 2001, M&S enlists Mighty Mouse and Mark Knight for some amazing remix to celebrate this milestone anniversary.

Mighty Mouse pulls out all the stops with expertly chopped vocals and loops that builds intensity with a breakdown that is equal parts intense and euphoric and is sure to get the club absolutely heated.

With a career that spans across two decades, DJ & Grammy-nominated producer and Toolroom head honcho Mark Knight jumps on board the Salsoul Nugget mix package. It's fair to say Mark Knight knows his way around creating records that connect with house music lovers. 2020 highlighted Mark Knight’s more soulful house roots and follows his desire to create timeless dance records that stand the test of time, including the Sunday Shouting sampling 'All 4 Love' (feat Tasty Lopez). 2021 saw the release of ‘Everything’s Gonna Be Alright’ with Beverly Knight and the London Community Gospel Choir. For his mix of Salsoul Nugget, Mark beefs up the drums for the main rooms while being respectful to the original.

The original vocal and original extended vocal mix and original extended Klub Mix are on the flip.

Timeless soul, 'Cool Cool' is the standout title track from James Alexander Bright's recent album. It's an immediately enchanting gem, with tendermusicianship and a stripped back production highlighting James' voice, pitchedsomewhere between Eddie Chacon, Beck and Michael McDonald. Athens of theNorth's in-house band East Coast Love Affair add a delightfully psychedelic Balearicpiquancy with an beautiful dub version on the flip.

'Cool Cool' has been enjoying a plethora of worldwide support; seeing James insession for Gilles Peterson, suppling a Block Party mix for Huey Morgan, interviewedby Bandcamp Weekly, and played across tastemaker shows on stations includingBBC 6 Music, FIP, Jazz FM, KCRW, KEXP, Les Inrocks, NTS, Soho Radio, Triple R,WDET, WNXP.

The past six years has seen James release a veritable treasure trove of music:'Mallorca' and 'Strange Folk' EPs, debut album 'Headroom', joyous second 'Float', analbum of collaborations and reworks with cosmic Americana-disco DJ/producer duoFlying Mojito Bros, and a new project with Groove Armada's Tom Findlay as Bright &Findlay. 'Cool Cool', his third solo album since 2020, was released on 26th July 2024.

The latest 45 from Durand Jones & The Indications out on Colemine Records features two tracks from their previous LP, Private Space. The A Side features the album's title track and is a laid-back, string-enhanced, smooth progression where guitarist Blake Rhein plays minimal but on-the-money strokes. The flip is an uptempo, drum heavy beat with lyrics depicting heartbreak and longing. "Sea of Love" delivers on that smell good, look good, feel good '70s synth sheen arrangements, lavish string charts, and double-down confidence from a band who gets to move their core expertly into a different decade.

Major Keys return with another jazz funk gem that has never before been released on a 12 inch. We go back to 1977 for one of the era defining albums, Gary Bartz magnificent Music is My Sanctuary. The title track from the double Grammy award winning saxophonist’s LP is an evergreen floor filler, finally seeing it’s long overdue 12 inch debut; a remastered, high volume DJ’s delight. Featuring Syreeta Wright on vocals, Bill Summers & James Mtume on percussion with arrangement by the one and only Larry Mizell, we have an assembled players list at the top of their game. The lyrics, joyful and heartfelt sum up exactly what music means to people, all underpinned by that glorious sax. One for the Heads and the feet, it’s a record that you will go back to time and again.

On the flip is the lesser known Carnaval De L'Esprit, a masterclass in jazz funk, this truly is the sunshine sound. It will lighten the weariest of souls and signals Major Keys as a buy on sight label.

Monsieur Van Pratt is well known to anyone who likes their disco on the hot side. He heads up the Super Spicy Records label and is now back with a new entry into the Super Spicy Recipe series alongside plenty of other top names. He opens up the EP with a groovy masterpiece featuring a powerful bassline and captivating vocals. Hotmood's 'Like That' showcases the energetic prowess of the Mexican then Julps, from Mexico City's Departamento, debuts with a hypnotic deep cut. On the flipside, Groovy Kds keep the party alive with 'Get Down,' while The Magic Track delivers pure dancefloor magic. Closing out the 12", The Velvet Stripes serve up a super funky and potent finale.

DJ support - Jeremy Underground, Alex Kassian, DJ Sprinkles, Willie Graff, Severino Panzetta, Rimarkable, Ella Knight

After a short hiatus To The Rock are back and it’s a lively one!
A repress of the definitive Danny J Lewis UKG classic Best Friends, this time around accompanied by 3 new remixes coming by the way of Chicago’s Garett David, newcomers Late Nite City and multi-instrumentalist Mom Tudie.

If you’re a Garage head, then you already know what the Spreadlove remix is saying. But for those hearing it for the first time it’s the sound of London 1999. Stripped back drums, choppy vocals, dubby synths that’ll transport you straight “back in the day”.

Garett David has done what he does best. Bringing Best Friends straight into 2024 with his unique style of garage and house influences. The elements hit hard on this, coupled with a full vocal it’s already getting love in all the right places

Late Nite City’s remix is a fresh 4x4 take on the original, giving a nod to the old (think 94 MK). Swinging drums, bright keys, thick choppy snares coupled with an organ that rings true of the glory days.
Last but by no means least, Mom Tudie flips the release on its head. This one takes us into new era soul territory that perfectly complements the preceding 3. Mom’s take gives the remix more space to breathe and in true Mom Tudie fashion the trumpet solo hits the spot.

Giuseppe Scarano, an Italian Artist Based in Antwerp, Belgium, Has Established Himself as a Prolific Figure in the Music Scene. Over the Recent Years, He Has Released a Multitude of Vinyl Records on Labels Such as Nice People, Disco Disco Records, and Core Cardiology. His Work Aligns With the Emerging Italian Wave, a Movement Spanning From Rhythm of Paradise to St. David and Gourmet De Funk. What Sets Scarano Apart Is the Distinctive Punchiness of His Style, Which Seamlessly Fits Into This Musical Landscape. an Exemplary Demonstration of His Talent Is the Ep That Kickstarts the Groove With "De Folies," a Jubilant 90s House Track That Artfully Combines the Vibes of Artists Like Sneak and Dimitri From Paris. This Record Is a Clear Invitation to the Dancefloor, Poised to Get Feet Tapping and Bodies Moving. the Ep Maintains Its Momentum With "Pleasure Dreams," Continuing to Weave a Musical Narrative That Captivates the Listener. Flipping to Side B, We Are Treated to the Disco-Infused Hit, "Walking on Music," and the Closing Gem "Timeless." This 12-Inch Record Is a Manifestation of Spontaneity and Boundless Energy, Guaranteed to Captivate and Delight Audiences. Scarano's Music Exudes Happiness and Is Designed for People Who Revel in the Joy of the Moment. as a Nod to His Roots and Influences, He Also Pays Homage to the Legendary Folie's Pigalle Club, Where Skylax Once Held Court and Organized Memorable Evenings Under the Banner of "House De Folies."...

4 track 12", with Jah Mega over the "Little Way Different" riddim, with Sister Jahian voicing The Gladiators' "Jah Works", pecked by the Peckings crew on the flip.

SUNANDBASS ambassador FD returns for his latest EP to guide you back to the familiar shores of our annual celebration in Sardinia. Rich and expressive music that works on the dancefloor can be hard to find but FD brings the goodness once again, with this diverse three-tracker.

“All Yours” hits the sweet spot straight away, with dusky vocals and tight beats. Deft guitar licks keep the funk fluid, wrapping around an essential groove, whilst crystal keys shimmer in the heat haze. An ace opener to any set, this track strikes a rare balance between rhythm and elegance.

Flipping the script with an ice-cold intro, “Second Villain” creeps up close and personal before dropping a murderous bassline on your chest. Produced alongside one of Switzerland’s most respected DJs, Ryck, the ‘Villain’ encompasses and embraces influences from Jungle and Drum & Bass alike.

Finalising the ninth release on SUNANDBASS Recordings is “Wah Wah Track”, which puts the music first to prove that the medium really is the message here. Melodic layers rise and fall like waves on this classy and uplifting piece of future soul music.

2024 Reissue

Founded with the intent of bringing hidden sounds out of obscurity, Rarefied will project these sounds on to a platform to be experienced by the many denizens of sound system culture. While the music is made to enjoyed by all, it retains its identity as both an underground and unique form of artistic expression.

After a series of successful digital releases, Soukah bursts onto the vinyl scene, presenting a sound crafted over the course of almost a decade. His past works range from Industrial Noise to his own unique take on Dubstep. RARE1 showcases Soukah's versatile approach to production - His organic style, based on dark synthesis and unorthodox drum patterns, is a true representation of the Rarefied sound.

'JAK FOU' is the result of six months of studio time, the classical piano riff combined with haunting percussion results in an experience akin to ingesting 18 grams of psycobilin. On the flip side 'Loner' is a far darker, moodier affair. Written solely by candlelight, the production evokes the darkest elements of Soukah's soul. This track is best enjoyed alone, in the wilderness.

UK producer Lex Wolf joins the RNT roster with a searingly hot EP of summer bangers! Known for his recent superlative output on the Make-A-Dance crew’s MAD Edits series, Lex brings his signature sample-heavy touch to this quartet of club and festival-ready tunes. Sounding a bit like Bob Sinclar over tough electro production, ‘Get Into The Sound’ starts the record off with a party then moves to the genre bending ‘Russle Love,’ with its melancholic vocals floating over a pulsating rubbery bassline. On the flip, ‘Warmer’ takes us into darker latenite territory with heavy low-end, stabby 80s synths and abstract vocal samples, and the record finishes off with the whimsical and effusive Sendsome, a plucky-guitar and horn driven earworm of an Afro edit. Classic RNT white label design with a special hot pink sleeve…because this baby is HOT!

The sophomore effort from Gray/Smith refines their petroleum-based, hard-lullaby sound with a decidedly dusty precision. To call this pair's brand of country-rock détournement "cosmic" would be too breezy: L. Gray and Rob Smith prefer to stare into sunken depths, channeling their recondite affections for lay-by mauve zones and red-dirt guitar wanderings. Formed in the outer-edges of Kings and Richmond counties circa 2020, Gray/Smith is something of an East-Coast involution. L. Gray (guitar and vocals) and Rob Smith (drums, guitar and vocals) are both trusty veterans of "band's bands" like Pigeons (Soft Abuse), No-Neck Blues Band (Revenant, Locust), Rhyton (Thrill Jockey), and The Suntanama (Drag City), freewheeling groups known for mining from polyglot sources: rough-hewn folk and the spiritual avant-garde, bargain-bin hard rock and and collector's-choice psychedelia alike. On their first, self-released LP Gray/Smith, serendipitously recorded at Gary's Electric at the top of 2021, the pair trained their assured chops onto the great American song-form, honing a murky but tight approach that variously cribs "urban cowboy" and finger-picked primitivism. A string of cryptic appearances soon followed, including a short-lived residency at a now-shuttered vodka dive; a micro-tour with Coloradan songstress Josephine Foster; and a series of backyard and barroom gigs sharing stages with compatriots like Stella Kola, Blues Ambush, Samara Lubelski, and Wednesday Knudsen. Heels in the Aisle is the slipshod, burnt-out, mid-'70s unter-prog comedown to their debut's backwoods, bushy-tailed, early-'70s, country-rock meanderings_expect more unrestrained riffs, artful studio wizardry, and worn-down introspection. Joining the ranks of bloodshot-eyed, blues-rock medleys à la Canned Heat's "Parthenogenesis" and Grand Funk's "Into The Sun," "The SDSPS" is the nearly side-length opening cut, an expanded song-cycle condensing and riffing on the themes of their debut. "Help Me" ventriloquizes Pomona College outlaw Kris Kristofferson's slow-roaring ballad of libidinal woe. On the flip side, "Verrazano Tile" and the title track pay heed to lower bays of Staten Island, while their arrangement of the traditional Zimbabwean tune "Guabi Guabi" is a bright Dead/Feat-like jaunt with blissed-out wah-wah pay-off. "Gaslight Boulevard" is lean, mean, and eight-beers-in space rock, and the closing track "Kekule's Ring" is a slack-jawed, wistful crash back down to earth. All this, packaged in a luxe, expertly-printed sleeve photographed by downtown artist Lary 7 and designed by Eric Wrenn (Sophie's Oil of Every Pearl's Un-Insides).

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Rotes Vinyl mit roter Schrift auf dem Cover-Artwork! Inklusive 24seitigem Booklet und Insert.

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Limitiertes blaues Vinyl mit blauer Schrift auf Cover-Artwork plus 24seitigem Booklet!

1980 in Las Vegas gegründet, zog es M.I.A. 1981 nach Orange County wo sie begannen Shows im berüchtigten Cuckoo's Nest zu spielen. Sie veröffentlichten erstmals zusammen mit Genocide das mittlerweile klassische Split-Album Last Rites For... auf Smoke Seven in 1982. Nach einer kurzen Pause kam die Band 1983 wieder zusammen und nahm im November in den Greencarton Studios ein Demo mit sechs Songs auf. Sie wurden schnell für ihre energiegeladenen Live-Shows bekannt, bei denen sie schnellen, gitarrenbetonten Hardcore mit der einzigartigen melodischen Stimme von Sänger Mike Conley und dem typischen südkalifornischen Punk-Sound verbanden. Nach einem Auftritt mit den Dead Kennedys bot Jello Biafra an, ihr nächstes Album Murder In a Foreign Place im Sommer 1984 auf seinem Label Alternative Tentacles zu veröffentlichen. Später veröffentlichte M.I.A. noch Notes From the Underground (National Trust 1985) und After the Fact (Flipside 1987). Anlässlich des 40-jährigen Jubiläums des Albums hat sich Modern City Records mit Alternative Tentacles zusammengetan, um ,Murder In a Foreign Place" im Jahr 2024 wieder auf den Markt zu bringen. 19 Tracks umfasst das Reissue, welches neben dem Originalalbum auch zwei Studio-Out-Takes und die kompletten Demos von Greencarton enthält. Der unveröffentlichte Track Help Me Up erscheint hier zum ersten Mal überhaupt! Limitiertes blaues Vinyl mit blauer Schrift auf Cover-Artwork plus 24seitigem Booklet!

Fans and supporters of our label already know that almost any of our compilation series are focused on privately produced recordings, whether it is Funk, Jazz, AOR or Yacht Rock. We always try to dig as deep as possible, and sometimes even further.

"Sounds" are one of those combos which have been overlooked since the start of the so called Rare-Groove movement in the early 1990s. The full length version of "Sound Spirit" can be found on the album "VARIOUS ARTISTS - PEACE CHANT Vol.7 - PRIVATE JAZZ FROM GERMANY" (TRLP-9124) album. "Sweet Emma" on the flip is a 7"-only track!

Sasu Ripatti presents the fourth volume in his "Dancefloor Classics" series with five 10" releases coming throughout 2023. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

UK's Will Hofbauer, who has released on his own Third Place and other popular labels such as Wisdom Teeth, Rhythm Section International, Rinse Recordings and Aus Music, appears on Ladybug split series 'SF Traxx' These 3 dance tracks are made up of delicate rhythms and Will's unique sound.

A is Will's side, 'Cricket' transitions from breakbeats to 4/4, the experimental dance track 'Clod', and 'Cocodrilo' trips with unsettling synth and unique sound design.
All are wonderfully balanced dance floor tracks, uniquely distorted and loose.

On the flip side is Igaxx, a well-received release on Macadam Mambo and Angis Music.
It features the funky synth track '4.5 SL Trip', the floating breakbeat of 'Liquefy' and the mysterious downbeat cut with swirling bass and raspy distorted guitars 'Ray In Space'.

A split EP then, but one which highlights the individuality of both artists.

Arguably the biggest and most in-demand electronic artist in the World, James Hype, puts his spin on Toolroom’s classic ‘Feel My Needs’. James needs little introduction, attracting more than 12 million listeners to his music monthly, accumulating over a billion streams and selling out arena’s all over the globe including his weekly residency at Hi, Ibiza.

The record is a peak-time monster and has become the ‘ID’ everyone is asking for on his social media and in his DJ sets! James has taken the essence of the original and added trademark tough drums and bundles of energy, very much akin to the vibe of his DJ sets.

Included on the flip is the unmistakable original from Weiss.

UK-born, Lisbon-based DJ, Producer, Songwriter, and activist Megatronic joins the RNT roster with her ‘Do I Belong To You?’ EP, a bold statement of her soulful and visionary sound. Side A opens with the deeply emotive ’The World’ featuring soulful and melancholic vocals by Stavros, then moves to the pulsating and freewheeling groove of Nuffin’ But Love (co-produced by Jitwam) and finishes with the jazzy vibes of Organic, with Meg’s sultry spoken poetry floating over live instrumentation. On the flip side two superlative remixes by heavyweights Jimpster and Kiko Navarro take Meg’s music straight to the dance floor, with Jimpster bringing is his signature lush deep textures to ‘Been Thinking’ (the original of which is available as part of the digi EP only) and Kiko delivering an acid afro-house banger of a mix on ‘The World.’ A gorgeous listen from beginning to end, this EP captures a sound that feels both classic and futuristic all at once.

2024 Reissue

DE-TÜ make their long awaited return to Infernal Sounds. Having previously released on IFS008, IFSXXX002 and also featuring on IFS018 alongside DRPTNDRP, this double header may be their highest calibre of dub-influenced 140 to grace the label. 'Roadblock' kicks off proceedings in the best way possible, hitting you deep in the belly with monumental amounts of weight on the drop, whilst layering a reverberating vocal lead and a daunting backdrop to bring you deeper inwards. The flip however, 'St. Paul's (City Road Dub)' takes things in a slightly different direction. Although it still provides that trademark DE-TÜ sound, it's certainly orientated more around the soundsystem, providing a perfect flex within the dubwise sound. It's the perfect example of progression as all the elements fold and merge, creating a track that will captivate you from start, to finish.

The release has already received heavy support from the likes of J:Kenzo, Truth, Leftlow, Kursk (Innamind Recordings) and a few other reputable DJs.

US IMPORT** **COMES WITH DOWNLOAD CODE inc EXTRA track** LIMITED COPIES available....

SK delivering an ace cover of a sublime rock obscurity backed with a dubbed out version from L.A. veteran, Secret Circuit. TIGHT.

" Suzanne Kraft covers Sugarcane's unforgettable soft-rock-meets-modern-soul ballad "What You Do To Me." Originally released as a limited 45 and featured on WDVE's first Pittsburgh Rocks compilation in 1980, and subsequently featured on the 'Soft Rock for Hard Times Vol. 2' Mix CD in 2014. Recorded and produced by Suzanne Kraft with a pitch perfect synthesizer solo by Jordan Czamanski (Jordan GCZ) - this version expertly matches the original song's private press essence with a full sound and dynamic arrangement that is recognizably Suzanne Kraft.

Secret Circuit delivers an extraordinarily heavy dub on the flip, launching Suzanne Kraft's cover forward with bass and drums under waves of delay and echo, bouncing the song towards the iconic synth solo which Secret Circuit sends into pure soundsystem bliss.

This is the debut release of the new Soft Rock For Hard Times imprint. "

Repress!

On 'Breakin' My Heart', Jim Sharp finds a way to bridge the summery goodness of ATCQ with the original instrumentation sampled by Dilla. The iconic vocal lead of Bebel Gilberto floats over the boom bap drums to make it a sure shot. The flip side, 'Check Minnie's Love' once again shows that Naughty NMX and Runex are on point. The product is horns, beefed up beats, fat bass and silky smooth vocals to make you think it's '92 again (without the Rhime). Minnie rips the lovely
vocals into a dance floor banger.

Two seminal 12" mixes of a pair of enormous tracks from Surface. Housed in the super-rare and - until now - French-only picture sleeve of the eternal "Falling In Love", we've backed that classic with Be With's favourite deconstructed mix of the swirling electronic soul / synth-driven slow jam "Happy". These sought-after versions have never been paired on the same record before. This fresh Be With edition ensures these legendary tracks now sound, looks and feel as sensational as they deserve to. You know what to do...

American post-disco/R&B trio Surface were a New Jersey vocal group made up of Bernard Jackson, David Townsend and David Conley. The majesty of boogie ballad "Falling In Love" was their first single, released in 1983 on Salsoul Records. The mellow magic of this track is loved the world over; it's a feel-good smooth boogie jam that's forever coveted. The slick, crystal clear beat, the legendary minimoog bassline, the melody, Karen Copeland's superb vocal, the great flute solo (referenced on the cover) all of it is literally perfect and beautifully encapsulates that mid 80s international club vibe. This here is the original Shep Pettibone mix in its entirety - it's the only one you really need.

Flip for the legendary "Love Mix" of 1987 hit single “Happy". You all know the original. At least, you *should* all know it. But the "Love Mix" is a deconstructed, boldly produced mix which is the one the heads have turned to for so long. Yet, in our opinion, its hypnotic groove has flown under the radar for too many years. This killer remix begins with Jackson's spine-tingling isolated vocal, cleverly subverting expectations by actually delivering the first words of the original's second verse "You must be Heaven sent...Sent into my life...And I compliment you baby...Baby" before a heavy 808 drum kicks hard with echoey handclaps. It's super sparse and a dubbed out slow-mo boogie banger like no other. The synth bass, atmospheric synth pads and synthesized flute glide in and out with effortless style and the whole thing is a wonder to behold.

It's a slow jam, for sure, but crafted in the straight up funk tradition, using the digital tools of the day and this sparser than sparse version almost sounds like a precursor to UK Street Soul. A unique combination of undeniable funk, electro beats and an earnest, youthful tenor; it should be slamming out of every jeep forevermore.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year. Simply flawless.

Continuing his fruitful relationship with Discrepant after the third volume of his ongoing Organic Music Tape Series on Sucata Tapes, Tiago Sousa returns with two longform pieces for organ with 'A Thousand Strings'. A self-explanatory title in itself, 'A Thousand Strings' drifts fluidly into a celestial realm of cascading melodies and cycling patterns that never feel forced or strict throughout its two hypnotic tracks. Pulsating with life and ecstatic abandon.

Taking cues from the tradition of American minimalists like Steve Reich and, particularly, Terry Riley, the Portuguese composer's work flows with a life of his own, that, while acknowledging those influences, transcends them into his own signature. On the A side, 'A Thousand Strings' goes seamlessly from intertwining crepuscular harmonies to ascending keyboard runs in the manner of 'Persian Surgery Dervishes' finishing with a coda of rhythmic marimba-like pulses. On the flipside, 'The Things Passed' creates this maze-like tapestry of melodies that seem to drift apart only to converge back again into its internal process before setting on sustained tones infused with a sense of longing. For all things passed. For what is yet to come.

Warped and dragged through the murky underbelly of the Levantine underground comes 'Volume 1' the x-rated left-field debut from the pseudonymous DJ GAWAD.

Via pitched up vocals dripping with delay, DJ GAWAD takes us on a tour of the region's most urgent artists, his interjections oscillating between cocky boast and frustrated lament.

Through this new persona, DJ GAWAD pulls back the curtain to reveal himself as the protagonist of the mixtape-like album, as replete with features as it is with expletives, an enigmatic ghoul in the back of the studio with an endless supply of broken sample flips, giving the album its old school feel while still speaking to contemporary hip hop aesthetics.

A Jordanian/Palestinian Memphis gangster rap parody par excellence, the album is infused with satirical commentary on the state of the contemporary music scene, yet DJ GAWAD shows as much as he tells, expertly fashioning a sound that makes you wonder about the identity of the artist behind the braggadocious persona of the self-titled "best producer in the Middle East."

Drawing heavily from the Memphis rap mixtapes of the mid 1990s, DJ GAWAD has clearly identified the same brooding atmosphere in his own surroundings. On Mat3'anish (feat. Bleng & Fara7) DJ GAWAD makes his most explicit reference to the Memphis sound, twisting the hallmark cowbells that defined that movement to reflect the equally raw nature of his own setting.

Similarly, in Bandana (feat. Jurum), DJ GAWAD finds the perfect tension between his romantic sampling tendencies and the brutal sensibilities of his featured artist. As if liberated by DJ GAWAD's anonymity and irreverence, his menagerie of artists appear to have been emboldened, embracing the obscene free naturedness of the album, setting their lyrical prowess free to wander.

No expense was spared in the post production treatment of DJ GAWAD's debut, with Iraqi-American artist Mark Gergis incorporating the Nakamichi Dragon cassette deck in the mastering process, as is evidenced by the crisp saturation of the album's sonics.

ER gladly welcomes Juan Barraco aka Bunda to our catalog. Bunda is an Uruguayan producer/live performer who’s been linked to music since a young age through a classical approach with a later interest into electronic music production.

Origen EP is his debut vinyl release delivering a solid four-tracks record: dancefloor-oriented pieces on each side’s first half and two downtempo tracks as second choices.
A1 ‘No hay salida’ is a proper dancefloor piece featuring a stomper and sticky kick drum along with a non-stop bassline hypnotic pulse. A2 ‘9º Mandamiento’ features a different sound landscape with a hint of Arabic melodies in synths and basslines programming.

On the flip side B1 ‘Stardust’ crafts a more sci-fi-bleepy grooving Techno sound while keeping an hypnotical atmosphere all along. Bunda shows a different facet in B2 with ‘Xep Nuit’, where he shows his skills and creativity in musical composition and sound picking.

Dame-Music founder Bloody Mary’s ‘ALTERNATE STATES OF REALITY’ EP marks the 50th release on a label that counts KiNK, Josh Wink, Boo Williams, Fear-E and Thomas P. Heckmann amongst its roster since it launched in 2010.

The release sees Bloody Mary, Tresor resident, live artist, DJ and Producer, return to her own imprint with a full EP for the first time since 2020, produced as part of her live set ahead of her
upcoming Autumn tour, and complete with a remix from Soma Records legends Slam.

In the ‘ALTERNATE STATES OF REALITY’ EP, Bloody Mary explores the varying aspects of her acid sound. Equipped with her TR-909 and 303, she shows her penchant for hardware, starting off with ‘REALITY ONE’, in which crunchy drums and crisp highs ride along a mind-melting acid polyrhythm before ‘REALITY TWO’ opts for a punchy
electro beat, once again drenched in squelch and occasionally soothed by soft, nostalgic pads.

Flipping over the record, the infectious marching drums of Bloody Mary’s ‘REALITY THREE’ leaves behind the 303 and swaps it out for rampaging toms below a furious,
clap-heavy topline. This party-starting track is pure rhythm, expertly remixed by Scotland’s Slam, who this time supply the acid in their version, amplifying the tempo to superb extremes for a hypnotic warehouse pumper and concluding the monumental
fiftieth instalment on one of techno’s most important labels

2024 Repress

Iconic Deep House label Large Music returns to the vinyl market with a limited repress of the classic Kerri Chandler release Return 2 Acid. First pressed in 2005, this was the 100th release on Large and has been out of print for 10 years. The A side features Kerri's powerhouse tribute to the glorious days of Acid House laced with driving beats and an incessant 808 acid line. On the flip side Kerri goes old-school, this time with an electro Afrika Bambaataa influenced jam entitled Planet Sonic. Also included for this special reissue is the unreleased Acapella of Return 2 Acid solidifying this as a true collectors item.

From Karma Recordings comes their thirteenth EP. Following on from the superb remix of Crystals Blame was asked once again to step to the controls to rework DJ Ande’s Be Bold which featured on the Almost There EP which was Karma’s fifth release. Blame mentioned that he loved the piano riff so it seemed obvious to ask him to Blame it up !! The results as they always are with Blame are outstanding. Flip the vinyl over and first up is Haunting from DJ KOS which was made some time ago and has had excellent reaction through our social media channels and this seemed a great addition to the release. Now, a Karma Recordings staple DJ Terrace delivers once again with XXL, superb samples and Terrace doing what he does best with the synths. Bound to be another classic to behold…

DJ Beeno and Paul Bradley have been mainstays of the Kniteforce roster for some time now, and it was only a matter of time before they appeared on the same EP, and this seemed like the perfect time.

DJ Beeno makes a rare traditional piano breakbeat track in the style of early Remix Records, circa 1994. Then, Paul Bradley takes the track and makes it more 1995 in style with big kicks, bigger breaks, and stabs for days.

Paul Bradley then goes back, once again, to the 1994 sound with his track, with all the energy of a freight train only stopping for the euphoric breakdowns. DJ Beeno then takes the track and flips it upside down with his signature sound, a sound that cannot be described easily but will put a fat smile on your face none the less!

After many years, Piano Progression is finally remastered from the original DAT source, previously thought lost, meaning this is the full length version that was originally released back in late1993. This track has become legendary with its epic rolling and ever evolving piano line and deep jungle breaks and bass.


Remastered by Beau at TenEightSeven mastering, it sounds better than it ever has before!

On the flip side is a "part two" that has taken 30 years to arrive. A new continuation of the original piano line, which was played by Mad Mind Jox (from Smart Es / Bang! fame), part two reunites these legendary artists for the first time, and makes for another absolute classic piano anthem.

The follow up to the largely instrumental (and apparently sold out) "FUSION TO ILLUSION" LP takes us back to the deep house + boogie RNB zone this duo does so well. Side A sees a previous 7" only tune "PURPLE" get a 12" treatment alongside instrumental "EAR DREAMIN". The flip has instrumentals.

Prepare to experience a true soul gem reimagined for the modern age with this special 7-inch reissue of Matt Covington’s classic, I'm So In Love With You. Originally released in 1983, this rare groove masterpiece captures the essence of early '80s R&B with its smooth, heartfelt vocals and lush instrumentation. Covington’s romantic delivery and the track's elegant arrangement have made it a coveted piece for collectors and soul aficionados alike, with the original pressing becoming increasingly hard to find over the years. For the first time ever, I’m So In Love With You is being reissued, allowing a new generation of listeners to discover its timeless charm. On the flip side, we’ve included Muhammad Ali, a standout cut from Covington’s self-titled album that resonates with soul, funk, and infectious energy. A favorite of acclaimed DJ Floating Points, Muhammad Ali pays tribute to the legendary boxer with a groove that’s as fierce as its namesake. Whether this has been sat in your wantlist for years or new to Matt Covington’s music, this 7-inch offers an essential addition to your collection. With its impeccable blend of silky soul and rhythmic punch, this reissue promises to become as cherished as the original release.

Strange Sensations is a new EP from Paul Renegade.
In between Lazerdrome / Phonomena releases (news on that soon) and with a folder full of spare tunes, this 4 track EP comes on white vinyl on sister label DragonDrop Records
This release features a mix of happy pianos, dark synths, ruff beats and Jungle Tekno vibes, all at various BPMs so there’s a bit of something for everybody.
On the A-side, Zer0 Gravity Fire is fast-paced ’94-style stompy hardcore (160BPM) with rushy pianos, while the synths and piano lines of Mind Over Mind slow the pace down a bit at 140BPM in an early ‘92 style.
On the flip side, Weird Dreams (160BPM) takes you between the worlds of happy and the darkside and Danger: Battledroid is an experimental dark hardcore track at 165BPM, mixing well in either a hardcore or jungle set.

Selector Series has really hit its stride with a rich vein of audio gold and following hot on the heels of Gene Harris’s ‘Losalamitoslatinfunklovesong’, they have unearthed yet another in demand gem with The Vibrations ‘Shake It Up’. It is remarkable to think that this re-issue marks the 50th anniversary of its original release in 1974. It then resurfaced as one of the biggest records soundtracking the mid ‘80’s London warehouse parties and rare groove scene. The epitome of modern soul, this 2-step masterclass sounds as fresh on today’s dancefloor as it did when tearing the roof of those all-nighters.

Co written by Bunny Sigler and arranged by Vince Montana, the swirling strings and distinctive percussive intro is guaranteed to uplift any dance and subsequently, Shake It Up found its way onto many a diggers wants list. Flipped with the mellower Thom Bell and Linda Creed penned ‘Make It Last’, here is your chance to own a pristine vinyl copy. As with everything on this label, buy on sight and spread the love.

Prince Istari in the 3rd Grade of the Riddim Dub School dropping hails King Zukale with some heavy weight rockers dub tune. On the flipside the rockers invites you for some bass and brass inflicted lover style riddim. Made on earth with love, for space exploration and bass. Limited to 300 copies and comes in stamped cardboard sleeves.

BLACK GIRL SINGER LM, formerly known as Lillie Nicole McCloud is a singer of exceptional ability with a sparkling career and a discography spanning seven albums.

Worth noting that in 1986 as Nicole, she had the smash hit ‘New York Eyes’ - a duet with the late great Timmy Thomas.

Her musical collaborations include Melissa Morgan, Keith Sweat and Angie Stone to name just a few!

Now as BLACK GIRL SINGER LM, she has begun releasing new songs. I DO LOVE YOU is considered by ‘those in the know’ to be one of the finest soul tracks from last year. Totally enamored by the soulful vocal prowess and production qualities, IZIPHO SOUL had to gain a vinyl release. On the flip side, this queen of vocals brings it home with the fervent ballad HEART OF HEARTS.

Hazardous 07 Special Edition comes with a pair of slipmats !

Superb collab between Mr Gasmask and Epidemie (Ketoksid/OB:Cur).

A side brings an "Hybrid" as they call it, between trance and Hardtek, supported by an Acid melopopeia...
The Flip is a unique peace of Elecytronic Art : a travel into Acid history from the ambient to the HardBeat with some break high time. It's a pure jewel !! One of the biggest tunes i ever heard...

MUST HAVE !

We are delighted to offer a very limited hand-stamped repress of Black Loops’ debut EP, 7 Hills on Freerange

The Italian producer who splits his time between Berlin and his native country has had a solid few years rising through the house music ranks through releases on respected labels such as Shall Not Fade, Pets, Toytonics, Aterral, Gruuv & Neovinyl.

His broad-ranging influences taking in funk, soul, disco and 90’s NY house inform a depth, warmth and musicality to his productions which has seen him in demand DJing around the world and makes him an obvious fit for us here on Freerange.

This EP, produced almost exclusively during an extended tour in Australia opens with title track 7Hills, the area where he stayed and worked on this release. The trademark Black Loops swinging groove, smooth Rhodes stabs/ keys licks courtesy of Nikos Haropoulos and a deep, rolling bassline all come together to form the perfect warm up track - uplifting, understate and with a subtle sense of anticipation.

Next up we have Parisian producer Mad Rey getting stuck into 7Hills for a raw, bumping interpretation which jacks things up a notch taking it into heavier peak-time territory. Mad Rey has been responsible for some brilliant releases on French label D.Ko, Rekids and most recently Mamie’s Records and alongside label mates Flabaire and Paul Cut he has helped reestablish Paris as a hotbed of fresh, musical talent.

Flipping over we have two more Black Loops originals. King Paul takes an old soul vocal sample and works it to great effect over crisp 909 beats and sun-soaked keys whilst a vinyl-only bonus track Linda38 treads a similar path but with a punchier groove and warm pads rounding off this EP in fine style.

A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves.

Jazz Room Records are pleased to release this special cover of the underground club classic "Hibaros" originally by B&G Rhythm (Donny Beck & Steve Gutierrez and featuring Bobby Lyle!) and after one listen you will agree that this is a must-check 45! Over on the flip is "Something Special", a Latin-tinged jazz-funk number that's every bit as essential as the floor rocking A-side.

Lalomie Washburn is an US soul vocalist (25th August 1941 - 18th September 2004) from the Soul/Funk 70's band „High Voltage“ who released her solo album, „My Music Is Hot“, in 1977 and collaborated with many artists including Stevie Wonder, Quincy Jones, Chaka Khan and Ray Charles over decades.

In 1992, she released several 12" singles including the independant hit „Try My Love“. This hit single leaded her 1997 second (self-titled) solo album and became a huge Acid Jazz classic to be found on various compilations in the mid to the late 90ts.

In 2005 she was inducted into the Omaha Black Music Hall of Fame.
Now, 20 years later this song still got all the energy and musicality to be back big in the clubs and with the 2024 Boogie Back Remix in the Boogie Funk style on the flipside, DJs will have even more reasons to spin it and prove their love for it…

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

- Long out of print.

- Featuring remixes of Dr. John's "Right Place Wrong Time" and The Meters' "Hand Clapping Song".

- Limited edition 7-inch pressed on half blood red and half doublemint green colored vinyl with mustard splatter.

Bring back da funk! Professor Shorthair re-releases two long out-of-print remixes from the “NOLA Breaks” 45 series. His rework of Dr. John's classic "Right Place Wrong Time," comes complete with beefed-up drums and tasteful scratches for added effect. On the flip, The Meters' “Hand Clapping Song” gets extended breaks and a hook that’ll appeal to both Funk and Hip-Hop fans alike. This limited edition 7-inch comes on a half blood red and half doublemint green colored vinyl with mustard splatter.

Scottish newcomers, The Owls, break cover with this double sided slice of irresistible 21st Century Ska Pop. "Two Tone Summer" is an unforgettable love letter to the iconic 2-Tone movement of the late 70's and 80's, with an underlying lament at the parallels of racism, inequality, misery and social isolation which are as prevalent today as they were during the birth of the original 2-Tone movement. The flip side, "Skandal", is an acerbic Pop gem with timeless melodies and a lyric poking fun at the transparent strategy of misinformation and half truth disseminated by TV and Media to promote division and protect the establishment status quo, no matter how corrupt, and no matter how many scandals are eventually uncovered. Surely any song that has the line "whatever happened to the sweaty Prince?" has earned its place in your record collection!

Vegyn veröffentlicht auf seinem zweiten Album 'The Road To Hell Is Paved With Good Intentions' erhaben gestaltete Songs, die menschliche Unvollkommenheit zulassen, während sie auf einem Grat zwischen Hochgefühl und Melancholie schwanken - mit Gastbeiträgen von John Glacier, Léa Sen, Matt Maltese, Lauren Auder und Ethan P. Flynn. Das formverändernde Schaffen des britischen Produzenten tendiert gerne zum Exzess, wie bei der Zusammenarbeit mit Rap- und R&B-Topstars (Frank Ocean, Travis Scott, Kali Uchis) oder seinen 70-Track-Mixtapes. Im Gegensatz dazu entstand das neue Werk aus einem Raum frei fließender Experimente mit einer leichten Note. Bisher charakteristische Schnörkel und BPM-Änderungen treten gegenüber Melodie und Struktur in den Hintergrund. Oder wie Vegyn es selbst ausdrückt: 'Ich versuche einfach, interessante Songs zu machen – und das Gefühl stand im Mittelpunkt.'

Volume Two in the Electro Sampler Series of Nijmegen's finest Shipwrec. Another compelling electro V/A with tracks by Konerytmi and Ian Martin, amongst others. SES1 set out what quality electro means for Shipwrec. The first in the series brought together six musicians from far and wide, musicians who journey through the colder edge of their analogue instruments with a clear ear for the floor. SES2 starts where its predecessor left off. The genre bending Ian Martin opens with the frigid funk of "Metaphysical Travellers." Stripped back, the track is bare in terms of its elements. Despite such meagre ingredients, Martin concocts an engaging and rich work of darkened grooves and sinister undercurrents. o-0._.0-o is the playful pseudonym of acid freetekno enthusiast Owen. His contribution, "Acidrobotik", releases a free and wandering 303 lines that forges a bubbling path through crisp percussion. The flip brings an artist better known for his work in techno. Cliche Morph delves into the clinical side of his palette and emerges with the stunning "Placebo." Balancing alienated and arctic blasts with a thawing warmth, the outcome is pure classic electro. A rising star of machine music follows, Fleck E.S.C. A dirty bassline is further sullied by layers of gritty distortion and glitched vocals in this re-wired work of ghetto. A legend of electronics closes, Kirill Junolainen. Under his lauded Konerytmi moniker, this synthesiser shapeshifter delivers "Kuva Alkio." Stuttering bass and tight drums are the foundation from which sci-fi inspirations take hold, sailing strings tethered by a terse snare as SES2 is brought to a triumphal close.

A thrilling double-sider, a delight for DJs because of the funky dancefloor cuts that have never been available on a 45 before.
Two outstanding funky gems from Piper Pimienta and Columna de Fuego, among the most innovative Colombian artists of the ‘70s.

DESCRIPTION
Early Fruko collaborator and member of Discos Fuentes’ supergroup The Latin Brothers, Piper Pimienta was a renowned salsa singer and composer (and talented dancer!). Following his Fuentes period, he released several records on Venezuela’s Discomoda label. ‘Pensamiento’ is a killer Latin funk cut that was included on the 1979 album “La Fuente” by Piper Pimienta y su Orquesta and has never been available on a 45 before.

The flipside features one of the most innovative groups on the Colombian musical circuit in 1973: Columna de Fuego. They forged its sound by creatively and organically mixing elements of heavy rock with rhythms rooted in the music of the Pacific and Caribbean coasts and also funk and soul, keeping a fast pace from start to finish. ‘Iñot’ is an outstanding funky gem for the dancefloor taken from their only LP.

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, SMan, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Toolroom’s leading lady ESSEL returns to the label with a brand new killer vinyl 2 tracker. First up is her recent smash ‘Rave Is The Weapon’ with fellow female powerhouse and talented DJ, producer and vocalist, Alex Mills. Alex Mills is on an incredible journey! She had a UK top 40 hit last year with ‘Million Dollar Bill’ and as a talented vocalist boasts writing credits on records with the likes of Camelphat, Solardo and Ferreck Dawn. When these 2 are in the same room together, the energy that exudes from them is on another level! Their genuine friendship and thirst for fun is clearly visable and this spills into the record in a massive way. This BANGS! A peak-time tech houser in a similar vein to ESSEL’s Beatport chart topping tracks ‘Sweat’, and ‘Lennon’ with a lyric that will be screamed on dance floors and at festivals for the foreseeable future… ‘RAVE is the weapon!’ On the flipside is her late 2023 Toolroom single ‘The Edge’ that already sits on an impressive 4m streams and almost 40 Radio 1 plays. She has received a huge amount of radio support over the past few years which was rewarded with a DJ booking at Radio 1’s ‘Big Weekend’ back in May alongside the world’s leading artists. As far as the record is concerned… This is a real EARWORM! A stripped back, fun record with insanely catchy vocals and one that will please radio DJs, and club DJs alike.

Countless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Secretsundaze marks a new chapter in the institution’s storied history with the foundation of imprint 9FINITY. Stemming from founder James Priestley’s daughter Ludo’s toddler-speak of ‘9FINITY’ to define something massive or huge, the label aims to run with this descriptor through no-nonsense, discerning dance records from artists at the vanguard of modern club music.

The label makes a statement with its maiden release, a V/A compiled with the considered curation synonymous with the Secretsundaze name.

9FINITY001 brings together the talents of Eoin DJ, DJ Life, Luca Attanasio, Coffintexts and E-Talking across 5 tracks and digital bonus that act as a distillation of the label’s sonic vision.

The EP kicks off with Eoin DJ’s ‘Red Rubber Roses’ (Rhythm Dub). A deep, yet driving affair that melds a subtle break with an organ bass line. Think Junior Vasquez meets Radiant Love and you’re getting close. Joining Eoin DJ on the A-side is Naarm production wizard DJ Life with ‘Aberration’. A true headspinner, Life pulls out all the stops on this one, brooding D n’ B style low end, his trademark psychedelic flourishes and a mid-track pace change for good measure. A statement of intent for the imprint on its opening stanza.

The flip opens with exciting newcomer Luca Attanasio’s ‘I Like You Mind’. Straight up intelligent modern house music to kick start the B-side with moody keys and sensual vocal samples juxtaposing a rising bassline that emphasizes groove. Next is Coffintexts’ percussive ‘Make U Sweat’. Doing exactly what is says on the tin, a bold club track with a heavy Latinx vibe that implores the listener to move. Last but certainly not least, E-Talking closes out an impressive opening outing for 9FINITY with the balearic tinged, progressive ‘Party’.

The EP also has an exclusive, Bandcamp only digital bonus with Coffintexts providing a dub wise, 140 version of ‘Make U Sweat’.

A highly talented artist who has grown to make a notable impression amongst the scene’s most revered tastemakers, DJ/producer and label owner Jhobei is an individual who continues to blossom. His deep, expansive sound has already welcomed material on Up The Stuss, Limousine Dream, Mindhelmet and Picnic Records, amongst others, while featuring as a co-founder of London-based collective and label Bizarre Trax. In addition, his work as one-third of dynamic trio Felon5, coupled with his unique sound, has taken him from Albania’s ION Festival to Los Angeles, alongside making a handful of appearances for FUSE and its sister brands on home turf at fabric, The Cause and Village Underground - plus 2024’s Open Air event at Barking Park earlier this year. Building on that relationship, late September brings fresh music as Enzo Siragusa invites the exciting selector to make his label debut with an array of impressive productions across his ‘Age Of Virality’ EP. A-side opener ‘Swarming’ is all action and kicks things off with authority as a snaking bassline guides a garage-influenced trip through bumping low-ends and hooky vocal samples, while ‘Machine Language’ delivers a mix of playful tones amongst sweeping melodies while delivering a heavy dose of robot funk. On the flip, ‘Defusion Solution’ is a heady late-night excursion through skippy percussion and cosmic tones, with ‘Rising Sun’ stripping things back to deliver a classy, hazy journey as organic percussion grooves unravel effortlessly. Digital buyers are treated to a bonus cut in the form of ‘Kontrol Urload’, a sci-fi leaning cut merging glistening neon synth motifs with punchy kicks and zipping effects for maximum impact.

Aniara Recordings presents the second chapter of the Genius Of Time Vocal Series, showcasing the exceptional synergy between duo Arkajo & Dorisburg, in collaboration with a range of talented vocalists. A-side 'Closer' blends intimate vocals with a hypnotic rhythm, creating an atmosphere of pure emotion. On the flip side, 'Fumana Chord' offers a bold, uplifting spirit, driven by a deep, resonant bassline, joyful beats and ecstatic vocal snippets.

"With their third full-length, Washington, D.C.’s Bad Moves have expanded their founding artistic identity — a candy-coated guitar-pop shell surrounding a bitter lyrical core — by refracting their ideas through a new set of musical forms that weaponize repetition. On the new Wearing Out the Refrain, recorded once again with producer Joe Reinhart (Hop Along, Algernon Cadwallader), Bad Moves propose that the flip side of the delirious harmony of the basement show singalong is the volatile, accusatory antiphony of a community divided by strain, shouting the same desperate hook back and forth at one another.

Bad Moves’ tag-team vocals, which forgo centering anyone one member, also let the traditionally confessional “I” become the “we” of a community, or generation. Witness the ambitious climate change metaphor of “Eviction Party,” which understands the union of sugary pop and genuine angst embodied by 1960s girl-group songcraft, and uses it to expand a personal story to planetary scale. “It’s my eviction, I’ll cry if I want to” Bad Moves shouts, channeling the dawning millennial midlife crisis. The personal may be political, but what if both feel weighed down and trapped in circular, inescapable ruts?"

Back in circulation after over a decade, Jahtari's seminal "Jahtarian Dubbers Vol. 1 EP" receives the long-awaited reissue treatment, reviving the raw, 8-bit-infused dub vibes that defined a new era of digital roots music.

Originally released in 2008 and quickly disappearing into dub obscurity, this heavyweight 12" returns with four essential cuts that perfectly encapsulate the Jahtari sound—where chiptune meets the echo chamber.

The EP kicks off with Blaze Dem's "Roots Defender", a hypnotic concotion of deep basslines and eerie samples from a Swedish cult ritual, setting a heavy tone right from the start. disrupt's cinematic "Kozure Okami" follows, channeling Black Ark vibes through 8-bit synth explorations.

On the flip, John Frum delivers the hauntingly beautiful "January Dub", while Rootah's slomo slammer "Holy Mount Part 2" closes the EP with Lynchian, echo-soaked vibrations that linger long after the needle lifts.

Timeless tracks, mastered by CGB-1 at D&M in Berlin for maximum impact. Pivotal piece of Dub music!

Every Trick in the Book' is the new single from Bristol-based beat makers, The Allergies. True to form, they've whipped up a sun-kissed groove that'll add a splash of colour to your day, whatever the weather. This A-side takes a vintage vocal sample from the 'Queen of Rock n Roll' herself – none other than Tina Turner! Yeah, you know 'Private Dancer', 'What's Love Got To Do With It', 'We Don't Need Another hero' etc. That Tina Turner! Jeez Louise!
Well the guys have supplemented her pipes with loops from a long-forgotten Latin boogie 12", and layers of live horns, cuts, drums, and FX, to give us a joyous mid-tempo groove that you'll be humming for weeks. While the flipside takes it back to '91, as long-time Allergies collaborator, Andy Cooper, reworks his hero Big Daddy Kane's classic 'Nuff Respect'.
This cover version takes the fast raps of the original, tweaks them, and fires them back over an explosive backdrop of scratches and b-boy beats.

Hittin your decks in 4 weeks time on a Cannonball Records' 7"/45rpm, “U need me” by the LA Propinquity surfaces as part of a body of productions initially meant to be put out all together on an album. As often seen, for many reasons this didn’t happen and we are offered the privilege to release it on our flagship label first time ever. A modern soul dancerof the highest order out of a couple of premium recording studios in Los Angeles (included Hit City West with award winning engineer Avi Kipperat the controls) by the hands of Maestro Sanifu Hall and his Aljoni Music Co. featuring what could easily be defined the L.A. Dream Team of musicians, to include the infectious groove of drummer supreme James Gadson (previously featured also on our long sold outs with Mike James Kirkland) and many other stellar players from the area. I know I’m a weirdo so, to my taste, the most remarkable stuff sits on the flipside. Sanifu’s slick instrumental arrangement enriched by the flute of Todd Del Giudice, seamlessly in and out from the verses, makes it a sublime slice of original Soul Jazz from the late 70’s. Actually we really struggled to put this version on the back up side of this release as, with that hint of west coast fusion, it’d be worth a main side on its own. Just listen to both versions, judge by your excellent selves and make your move accordingly. Full links and presale details on our website for your consideration. ***The full cover above is an artwork done exclusively for digital & social media promotion.

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Brooklyn underground rap heroes Tanya Morgan drop a two-track heatrock of a 7-inch that lights up dancefloors while maintaining their true-school status with clever wordplay and progressive beats.

Since breaking on to the blog-era rap scene in 2006 with their debut LPMoonlightingand solidifying their status in 2009 with the now-legendaryBrooklynati, Tanya Morgan has represented the best of underground hip-hop. Your favorite rapper's favorite group, they combine trademark witty wordplay with tough, headnodding beats that demand rewinds and repeat listens. Bouncing back in recent years withRubber Souland other one-off cuts, the duo of Donwill and Von Pea has teamed with producer 6th Sense and quietly set about building the next chapter of their rock-solid legacy.

"Move It Or Lose It" is the latest manifestation of Tanya Morgan, a cut that is neither throwback nor trend chasing, but does double duty on the dancefloor as well as a headphone banger. Irresistibly funky, with Mathien's guitar and vocal the icing on top, and riding at a perfect tempo to get dancers bubbling, it got immediate attention from DJs when the group teased the digital version online.

The double A-side single continues on the flip with "Don't Look Up," another grown-man rap (as Von Pea asks, "How you want the old me acting brand new?") set to 6th Sense's progressive uptempo beat that recalls Q-Tip's adventurous recent productions, and featuring Mia Jae on vocals driving the chorus. Donwill's commentary on getting older and wiser in the music industry hits home to any of us who've been around the block: "Slow growth while the roots spread / Somebody said rap group's dead / They prolly wrote it as a sponsored ad."

Both cuts are primed to move feet and represent the continued lineage of quality underground hip-hop, proudly coming straight from the heart of Brooklyn as a collab with BK-based indy vinyl masters Names You Can Trust.

VDR Remixes: Beyond Music

The concept for this remix album evolved gradually through various encounters and exchanges. Despite its complexity, the project would not have come to fruition without the firm dedication of each artist involved.

Artists were given the freedom to select any track from my discography for their remix. With no directives, the LP's magic emerged from their unique styles and creative visions, resulting in a diverse palette of tones and rhythms.

The first record opens with Stephen Brown's electrifying remix of Blunt's "Later For It," originally released on Bright Sounds. Stephen's reinterpretation infuses the track with dark, captivating techno.

On the B-side, Markus Suckut presents his masterful adaptation of "Thrust It," a track marking my first release. Following this, Sawlin transforms "The Venue" from The Cruiser series, infusing it with his signature 'Made by Sawlin' style.

The second record continues with two compelling versions of "Moon, Sea and Waves" by Alek S. These reinterpretations—one dub techno and the other Detroit-oriented—offer a unique and immersive vision of the B+A+D tracks, originally released on Newmont.

On the flip side, Joe Metzenmacher delivers a daring electro remix of "1NON1" on D1, followed by Sicaa's bass music rendition of "Archensweet" on D2.

The third record is entirely dedicated to remixes of the Ashppe series, which I hold dear. Drexl provides a powerful breakbeat cut of "Flexit," a true bomb. Simon Ferdinand from Polycarp Records, with whom I had the pleasure of working, captures the punch and melancholy of "Fudge It". The LP concludes with two Dub 3.0 adaptations of "Let's do it" by Anthony Cacharron, using the aliases Alpha GPC and Redrop, ending on an exploratory high note.

A heartfelt thank you to all the remixers for their boundless creativity and commitment to this project

“Tu non hai questo suono. Non avrai mai questo sound”

Blank Mind presents three sublime versions of Big Hands’ ‘Girde Maye / Astere’ from Tammo Hesselink, Notte Infinita and Paperclip Minimiser - originally released on the Ossario EP in 2021.

Though playful in nature, and not overtly political - the lyrics explore identity and geographical boundaries. As the artist explains - it is written by an Italian and a Türk that talks in Italian, released in Britain in times of Brexit “and that’s why I chose to have a title in Kurdish in a song “sung” by a Türk.”

The vocal provides endless scope for reshaping and is entrusted to some of the most distinctive producers in electronic music; each of whom sensitively reimagine the original.

On the flip, the esteemed and prolific Tammo Hesselink produces a robust, and heavy version in his angular, crystalline style. Finally, Cong Burn wizard Paperclip Minimiser slows the tempo with a futuristic roller, an impressive creation by a man deeply immersed in technological innovation and at one with his machines.

Limitierte 12" Reissue von Dawn Penns Klassiker in der 1994er Dancehall-Version von Steely & Cleevie, die weltweit zum Hit avancierte. Mit dem Instrumental auf der Flipside.

Over 20 years of friendship and Reggie Dokes and Red D are still at it. Their first joint E.P. was released on Red D’s We Play House Recordings label and kicked off the label’s much-lauded U.S. Series. Moving back across the pond we now find Reggie and Bart sharing a release on Reggie’s legendary Psychostasia imprint.

On the A-side Reggie is bringing his trademark sound and taking it deeper than ever. Moody melancholy paired with solid beats and drums to take you into deep house heaven. On the flip Red D brings his Detroit inspiration into deep and swinging techno territory reminding us of Scan 7 and the likes with a vocal that gives a respectful nod to an Underground Resistance classic. Can you get into the sound?

2024 Repress

Following the Recent Dip Into the Theo Parrish Archives That Was the Twin Cities, Phil Weeks' Robsoul Imprint Looks to Another One of Detroit's Adopted Sons in the Form of Rick Wade. Like That Recent Parrish Reissue, Weeks Re-Releases Another Three Tracks From Wade's Bulging Discography. the Upbeat Disco Loops of "Players Theme" Was Originally Released on French Label Funky Chocolate in 2002 and Still Sound Fresher Than Anything Being Plied by the Soundcloud Dwellers Today, While "Can't You See" From 2003 Provides a More Soulful Take on House Music. on the Flip, the Tracky Funk and Cascading String Melodies of "I Feel Good" Originally Graced Wade's Own Harmonie Park Imprint in 1998, but Sound No Less Vital Today. Essential....

After a slight hiatus Jad & The’s Speed Dial imprint is back and this time joined by a myriad of underground talent to give you the Various Artists “Rhythm Rituals” EP.

The A side is jam packed with 3 uptempo tech-prog-chug goodness featuring Eora Nation based up and comer Mtty, label head Jad & The, and a re-issue of Pocket’s timeless “Smoke Signals” previously released via Australia’s seminal “Thunk” Recordings in the year 2000.

On the flip the tempo is slowed but Australian DJs DJ Relax and Local Support deliver arguably the finest moments on the record - broken beat Balearic badness in the best way, hell yeah!

Mr Bongo’s Brazil 45’s series serves up another pair of Brazilian classics in the form of Rita Lee & Tutti Frutti ‘Agora É Moda’ and Pete Dunaway ‘Supermarket’.

'Agora É Moda' is a psychedelic, disco-boogie-groove monster brought to our attention by Greg Caz and Sean Marquand aka Brazilian Beats Brooklyn. Originally released on Rita Lee’s 1978 album Babilônia LP on Som Livre, this sublime track is drenched in squelching guitar licks, funk drums and sensuous cosmic vocal flavours.

Lee was the lead singer of Brazilian psychedelic rock band Os Mutantes and a hugely important figure in the Tropicalia movement. She sadly passed away in 2023 but her legacy well and truly lives on, loved both in and out of the music world.

On the flip side, Pete Dunaway’s ‘Supermarket’ is a rare groove/AOR masterpiece with a killer bassline, swaggering guitar and luscious string section layered with a perfectly delivered English vocal.

Pete Dunaway, real name Otavio Cardosa was a singer, composer, arranger and multi-instrumentalist from Sao Paulo, who spent the majority of his time composing for TV themes and library instrumentals.

Remastered with refreshed artwork.

Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.

’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.

On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through.

Remastered with refreshed artwork.

Absolutely electrifying and timeless, the 1973 Philly disco anthem is back! Now fully licensed and repressed for 2024 on a premium 12" single, "The Love I Lost" shines brighter than ever. This all-time classic showcases the extraordinary vocals of a young Teddy Pendergrass, who was on the cusp of becoming one of the era's most successful male performers. This full-length LP version, generously spread across an entire side of the 12" single, is an essential addition to any collection. It's one of those formative tracks that laid the foundation for the disco explosion—pure perfection!

Flip the record, and you'll find another landmark tune: "Wake Up Everybody." This 1975 mellow dancer carries a powerful, heartfelt message and stands as another monumental hit in the Blue Notes' impressive catalog. With socially conscious lyrics that resonate even today, this track has solidified its status as a timeless classic, exuding depth and soul. The entire B-side is dedicated to this one track, providing ample room for its message to resonate and ensuring top-quality sonic playback for DJs and dancers alike. If you appreciate soulful sounds, this record is a must-have—peerless and unforgettable!

Previously unissued from 1978 this is the follow up release to the very successful "Those Passing Words" single The Ellis Hall Group.

"Music, Sweet Music" sounds like a perfect little song with lovely summer vibes, a bit of vocal scatting and lovely organ licks from the multi talented Ellis Hall.

We love the feel of this one that sounds like The Crusaders/Blackbyrds, and Stevie Wonder rolled into 2:38 of soulful pleasure.

Flip it over and "Forward Motion" kicks off with some pretty generic 70's horn play, boom, rasping drums and melodies kick in with some fun interplay between Ellis , Patty Unitas and Pat Thomas on the background vox.

The full line up from these recordings are:

Ellis Hall Jr (Keyboards/Vocals)

Patty Unitas (Vocals)

Pat Thomas (Vocals)

David Fuller (Drums/Vocals)

Michael Thompson (Guitar)

Stanley Benders (Percussion)

Dam Swindle return to Heist in excellent form with a 4-track EP in their signature style.

The iconic Amsterdam duo returned to the studio after their much-lauded ‘Minor Fools’ EP, where the lead track ‘That’s Right’ became one of the most heartwarming tracks 2023. Their recent contribution to the Phonica 20-year compilation -‘Allright (just a tribute)’- is turning into one of the biggest hits of this year with big plays on pretty much every festival around, whether it’s Glastonbury or Dekmantel. The guys are known for their ability to bend different styles into something very much their own and their newest addition to the Heist catalog is no different. The ‘Touch Me Again’ EP sees them go from sample-heavy house to classic 90’s piano-driven tracks with a touch of acid and it’s one you don’t want to miss.

The record starts with ‘Touch Me Again’, a house jam with chopped vocals, energetic synth stabs and a big breakdown. Add to that a touch of acid and you’ve got a follow-up to their Phonica hit of 2023.

‘Hang On’ takes you back into classic Swindle territory, with their signature sampling style and knack for finding those lush vocals. The synth chops and bassline give the track its upbeat energy and the distant filtered pads move in an ever so subtle way, that there’s always something new happening while keeping the attention on that catchy main hook.

On the flip, we see the guys take things a bit deeper with emotive vocals and introverted keys layered over a steady groove on their track ‘The Joy of Melancholy’. Fast-forward to the drop and all that energy comes free with a huge piano break, which propels the track into a blissful ‘hands-in-the-air’ dancefloor moment.

The EP closes with ‘Forever and Ever’, a gospel-inspired Deep house tune full of organ hits and off-kilter sample chops. This 4-track EP gives you jam upon jam upon jam and sees Dam Swindle solidify their position as the go-to artist in the house scene and keeps them at the forefront of electronic music.

Grab this record while you can and share the love,

Heist Recordings.