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11th Release of the limited Florcene Funk Sublabel including 2 rare Gems and a brandnew Artwork....Vinyl Only & limited as usual.

10th Release of the limited Florcene Funk Sublabel including 2 rare Gems and a brandnew Artwork....Vinyl Only & limited as usual.



Comes in mixed colored Vinyl !

9th Release of the limited Florcene Funk Sublabel including 2 rare Gems....Vinyl Only & limited as usual.


Comes for the first Time in colored Vinyl !

8th Release of the limited Florcene Funk Sublabel including 2 rare Gems....Vinyl Only & limited as usual.



Comes with fresh Florencefunk Stickers!

7th Release of the limited Florcene Funk Sublabel including 2 rare Gems....Vinyl Only & limited as usual.



Comes with fresh Florencefunk Stickers!

6th Release of the limited Florcene Funk Sublabel including 2 rare Gems....Vinyl Only & limited as usual.



Comes with fresh Florencefunk Stickers!

Third Release of the limited Florcene Funk Sublabel including 2 rare Gems....Vinyl Only & limited as usual

12th Release of the limited Florcene Funk Sublabel including 2 rare Gems and for the

first Time in fresh 4C full Cover....Vinyl Only & limited as usual.



Comes for the first Time in 4 C full Cover !

2026 Repress

Bosconi Records, the Florence-based imprint run by Fabio Della Torre, is back with something truly special. Over the years, the label has built a reputation for pushing house, funk and electro in all their shades, always keeping a strong link between the local scene and international legends. And when it comes to legends, there are few names that shine brighter than Alexander Robotnick.

The Italian electro pioneer – aka Maurizio Dami – has already collaborated with Bosconi on The Hidden Game and Italcimenti Under Construction. Now he returns with My La(te)st EP, a vinyl-only release that pulls five standout cuts from his 2007 CD My La(te)st Album and finally makes them available on wax. All tracks have been remastered for the vinyl format, enhancing their depth and dynamics to deliver the best possible experience on wax.

The EP opens with “Jette Le Masque (Extended Version)”, driven by a pumping bassline and jagged sawtooth synths, with whispered French vocals by Robotnick himself. Stretched out and more DJ-friendly than the original, this version is tailor-made for the dancefloor.
On “We Love The Music” things get fun and funky: vocoder vocals, an electro-funk bounce and that unmistakable Robotnick irony. A killer cut to start a set on the right foot.

Flip the record and you dive into the acidic depths of “I’m Getting Lost In My Brain”. Old-school Chicago vibes, a hypnotic groove and basslines that just don’t quit – a peak-time weapon that feels raw and timeless.
Then comes “A Coffee Shop in Rotterdam”, one of those secret gems: melodic, laid-back and warm, built on a slapping bass and dreamy arpeggios. It has that Riviera house touch from the ’90s, but with Robotnick’s unmistakable twist.

Closing the EP is “Addio” – a track that wears its heart on its sleeve. Romantic, emotional, and driven by a bassline that nods back to Robotnick’s all-time classic Problèmes d’Amour. A perfect goodbye track, the kind that leaves a smile on your face as the lights come on.

This is a must-have for vinyl lovers and Robotnick fans alike – five cuts carefully remastered for the vinyl format, pressed exclusively on wax and ready to work the floor from start to finish. Don’t sleep on it: limited copies, vinyl only.

Next up on Bosconi, the ever-persistent Italian outpost helmed by DJ sorcerer Fabio della Torre, comes a bold new chapter from label mainstay Lapucci—a familiar name to heads who remember his trippy debut Levitated Sensor Detector (LSD).

With Level of Control, the Florence-based Burbi Dub dubplate conjurer delivers a four-track EP that travels across moody electronics, psychedelic grooves, and off-world rhythms.

Kicking off the A-side is “Radio Controller”, a dark and melodic new beat jam with deep ‘80s roots—think obscure synths, rolling drum-machine funk, and a haunting vocoder line that crackles like forgotten transmissions.
Next up, “Einstein”. This one’s a jacking electro-techno burner, all drive and tension—built for those peak-time moments where things feel like they could go off the rails. There’s a cinematic sense of anticipation here, a nod to the cosmic weight of relativity and dancefloor gravity.

Flip to the B-side for “Level of Reality”—a trance-soaked electro weapon, laced with a screaming guitar-like lead and a soaring, emotional melody. It’s peak-time power with sunrise sensitivity—equal parts rave and revelation.
Closing things out is “Irabijanti”, a stripped-back, hypnotic afterhours tool with a fresh, effortless groove. Subtle nods to Middle Eastern scales and rhythms give it a dreamlike, drifting feel—like getting lost in the dunes of some alien desert.

Another must-have from the Bosconi mothership—Lapucci pilots us further out, not with a bang but with a slow magnetic pull into somewhere weird, warm, and wired.

As the tenth candle flickers atop the torta alla panna, Archeo Recordings play the Uno reverse card, breaking with tradition to give us a gift in celebration of its birthday: the first in a series of exquisite EPs on which the label's favourite contemporaries pay homage to past masters. Each re-polished gem is plucked either directly from the beatific back catalogue of the fine Florentine label or is at least Archeo-adjacent, perhaps a sign of future wonders to come. Like a musical version of Janus, who can be found at the heart of Bertoldo di Giovanni's frieze in the Medici villa, Archeo Recordings will continue to look forwards and backwards to provide sublime sounds for us all.
Pepe Maina officially joined the Archeo family in 2019 with the much-needed reissue of his 1979 masterpiece Scerizza (AR015), but his astounding music has been a constant companion to label head Manu for much longer. An inter-dimensional, multi-instrumental maverick, Maina weaves the frayed edges of prog rock, new age, organic jazz and global minimalism into a shimmering tapestry all of his own. The results are spread across fifty years and almost as many albums, largely self-released and always absolutely untarnished by commercial concerns.
Based in a small village in the hills of Brianza, just north of Milan, Maina translates the beauty of his surroundings into transformative tone poems, and the folkloric fusion of "The Infinite", originally released on his 2014 CD Tales From The Hill, is the perfect example of his practice. It opens with a recitation of Giacomo Leopardi's 1825s poem "L'Infinito" by famed Italian actor Vittorio Gassman. A leading figure in the romantic movement, Leopardi explores the idea of time and space within the natural world, and the peace that comes with an appreciation of the immensity of eternity. Manu, longtime digger and now a burgeoning producer, expands upon the original with tribal percussion, chirping electronics and a spheric bassline, folding Maina's elegant strings and gossamer pads into a new arrangement suited for a slow dance under the stars.
Unless you had a well-trained ear tuned to Italy's avant-jazz scene, chances are your first encounter with innovative flautist Roberto Aglieri came via the 2017 Archeo reissue of hisalmost untraceable LP Ragapadani (AR011). It's a true testament to Manu's digging credentials that he snatched this masterpiece out of the esoteric atmosphere and brought it attention it so richly deserved. A delicate union of digital synthesis and versatile flute - be it soft and silvery or
brilliant and clear - the 1987 album was a shapeshifting masterpiece, replaying scenes from Virgil, Verdi, Visconti and Pasolini with a neon glow. Quintessentially Italian, but uncanny and previously unimagined - Penthouse and Portico perhaps. Powered by a percolating prototechno sequence, cascading keys, hallucinogenic vocal snippets and a variety of tonal timbres from Roberto's reed, "Danza N. 1" long deserved the praise reserved for Jean-Luc Ponty's pinnacle, so many thanks to Manu for our collective introduction. The tall task of reinterpreting this particular paragon falls to Perugian polymath Daniele Tomassini AKA Feel Fly, whose peerless skills as both producer and musician have delighted DJs and dancers alike. Hot on the heels of his diverse and definitive remixes of Tony Esposito for AR027, Daniele delivers a radical rework of "Danza N. 1" perfect for both day rave sunshine and full moon party alike. Enhanced by snapping breaks and a rattling kick, the bassline gurgle emerges as a progressive powerhouse, laying the foundation for the trilling flute and circular keys to cast a psychedelic spell. As the slow-Goa revival picks up pace, this one is way ahead of the pack.
Archeo take us all the way back to the start of its story here - well almost. Though it bore the stamp AR001 (2015), this Radio Band reissue actually hit shelves months after Tony Esposito's "Je-Na' / Pagaia"; a false start perhaps but a true classic all the same. Radio Band were a group of DJs from Florence who all sailed the airways of Radio Fantasy in 1984 and whose one and only release was this super groovy slice of Italo-boogie. Following the example of Milanese DJs Band of Jocks but far surpassing their formulaic funk fizzle, Radio Band employed an intergalactic bassline, cosmic keys and that undeniably Italian style of rapping to deliver a sophisticated party-starter which even found its way to disco deity Ron Hardy. Back to the here and now, and if you've found yourself pumping an ecstatic fist to a supercharged Italian epic of late, chances are its from the mind of the mysterious Radiomarc. Operating on the ascendent Popcorn Groove imprint, this shadowy figure steers his country's lost classics into peaktime territories, finding a sweet spot between late Italo-disco, early Italo-house and contemporary cool. Pushing the tempo with a club-ready 4/4, setting the sequencer to stun and supplementing the original melodies with a series of synth riffs, the mystery producer send this one into orbit. Radio Band - Radio Rap - Radiomarc, the circle is complete.
Few have done more to develop cross-cultural musical exchange than Futuro Antico. A collaborative venture from musician, archeologist and ethnomusicologist Walter Maioli, keyboardist and tonal theoretician Riccardo Sinigaglia and multi-disciplinary artist and composer Gabin Dabiré, Futuro Antico formed in Milan in 1979, combining ancient international folkloric traditions with otherworldly electronics. The result is an arresting melange of Mediterranean, African and Asian instrumentation, mimicked by esoteric synth tones and hypnotic minimalism, which the group perfected on their acclaimed 1990 LP Dai Primitivi All'Elettronica. The meditative and transportive "Pan Tuning" belongs to their largely overlooked 2005 CD only release Intonazioni Archetipe, and has been amongst Manu's most loved tracks from the first moment he heard it. Who else is better placed to reshape this evocative opus into an immersive, transcendental dance floor journey than label favourites Mushrooms Project? The duo sows the original elements into a sprawling fifteen minute fusion of séance and science, at times propulsive with a ritualist rhythm of tuned percussion and crunching drum machine at others drifting off into ethereal ambience. Mushrooms Project continue to push the boundaries of the Afro-cosmic style, and this remix marks a new zenith.

The Stallions compilations have become a benchmark of Bosconi's position as one of the leading house and techno labels operating out of Italy. This third instalment marks a shift in sound which also comes full circle to the music that first inspired founder Fabio Della Torre as a DJ and producer around the turn of the millennium, when punchy electro production was driving European house and techno into new zones.

All the artists featured on Vol. III are Italian, holding true to Bosconi's commitment to supporting local talent from Florence and across the country. Amongst the familiar faces is Della Torre's own Minimono collaboration with Ennio Colaci, which indulges a proudly manic palette of tweaked bleeps and dirty low-end. Elsewhere, recent additions to the Bosconi fold include veritable legends Alexander Robotnick and Marco Passarani, who infuse their unpredictable approaches to electro-techno and italo disco with ear-snagging synth-pop and driving analogue box jams respectively to create vibrant, impassioned dancefloor monsters.

The Mechanical Man is an alias from Nicola Altieri, who leans in on a classic Italo arpeggio to create a seductive club sound which builds on his recent Bosconi EXV EP, while Cixxx J switches from the mood of his own Bosconi appearance for a new alias Queen Of Coins and a pivot towards heads-down electro-techno-trance with a whiff of International Deejay Gigolos. Lapucci builds on the promise of his 2021 Bosconi 12" with a sentimental fusion track which lands somewhere between old school Italo house, the snappy pulse of EBM and crisp 00s-era electro house. Meanwhile modern day Italian techno legend Lucretio of The Analogue Cops makes his first appearance on Bosconi with the playful video game stylings of 'Gradius'.
A great deal of space on Vol. III is given over to emergent talent, ranging from Miguel Herr's twitchy detroitian synth-pop braindance and Twovi's vocoder-charged electro funk to DJ Rou's jacking ghetto house flavour. Giammarco Orsini and Jacopo Latini appear as Data Memory Access and deliver an emotive, punchy strain of machine soul. Feel Fly rounds the compilation off in bombastic style with an epic, cinematic workout which draws on Moroder-inspired drama without losing the forthright peak-time focus which binds the whole collection together.

Even the artwork on Vol. III serves as an opportunity to celebrate Italian creativity, as pioneering crypto artist Niro Perrone builds on his accomplished work in the field of NFTs and a background in music production to respond intuitively to the vibrant, synthetic sound of the compilation. For all the futurism in the music though, there remains a strong sense of human feeling which has marked Bosconi out since the beginning. The label remains as inspired and inspiring as ever, celebrating the fertile crossover when people manipulate technology to express themselves in an honest, playful way. Independent of wider trends or fashions, Bosconi remains true to its own idiosyncratic passions, and so Bosconi Stallions Vol. III stands proud as a compilation like no other.

Mennie returns to INFUSE with his latest EP ‘Pressure Disco’, backed by a remix from London’s Laidlaw.

A resident at Florence’s iconic Tenax, with releases via the likes of Rawax, Moscow Records and Adult Only in the past few years alone, and regular collaborations with close friend Julien Sandre, Italian talent Mennie continues to evolve and develop as an exciting name within the European house circuit. Having debuted on the label last November to remix Wax On Mare St., early December will now welcome a return to INFUSE as he delivers three fresh original productions via his latest EP ‘Pressure Disco’, whilst welcoming a label debut from London event regular and BEEYOU Records boss, Laidlaw.

Opening cut ‘The A Track’ offers a up a fun-filled yet slick production as off-kiltersonics, funky samples and snaking basslines go to work, whilst title cut ‘Pressure Disco’ travels down a hypnotic and wandering spiral of crisppercussion, hazy synths and eerie melodies. On the flip, ‘Jam’ welcomes the introduction of swinging drums in abundance, whilst glitchy flourishes and twisting synths go to work, before closing proceedings via Laidlaw’s lively interpretation of the title track – delivering an impressive combination of twisting electronics, infectious bass stabs and bubbling core grooves throughout.

Also Playable Mono, the nom de guerre of Rafał Lachmirowicz, channels musical greats and the romance of Italy with the Firenze EP. “Neverland” reimagines Giorgio Moroder’s iconic introduction of “I Feel Love”, undulating arpeggios and clean kicks giving way to an addictive tongue-in-cheek melody of laser futurism and eastern influences. “Firenze” follows. Broad analogue bars call to mind the works of Patrick Cowley, disco funk flirting with a spoken word tribute to Florence in this bright and bold track. Our next stop off is “Bergamo.” Low-slung, this smoky number is primed for the night. Thick thrums of bass are punctured by piano keys and toms, robotic pulses and trills adding a 1970s sci-fi groove to the proceedings. Turning the tables is “Breakfast Date.” Slow and dreamy, this early morning lounge affair lowers the tempo. Considered and thoughtful, meandering melodies border the blurred lines of jazz and funk. The words of “Firenze” are left in the wings for the instrumental close, Lachmirowicz’s synthesizers taking the limelight in this uplifting finale. A 12” that encapsulates the expansive sound of Also Playable Mono.

''Stop'' is the emblem of Italo-Disco par excellence even if in 1983 it was inserted by Carlo Favilli and Stefano Zito on the B-side of the 12''of the nascent label House of Music. However, the song, although recorded in a hurry and with evident sound defects, is the perfect example of the musical genre that was developing in Italy in those very early 80s. ''Stop 4 Remixes'' is long-awaited answer that followers have been waiting for over 4 decades and now it lives with its own light with 4 new versions that testify how the piece was a driving force for the entire Italo-Disco movement."Pushed Up'' is the remix by Woody Bianchi, who according to Claudio Casalini (who does not allow any discussion on this matter) is the best Italian disc-jockey for the technical quality of the mixes and the artistic choice of the pieces to play. It would take a book to retrace the stages of his prestigious career. So here just a bravo' to Gino (Woody Bianchi). Ditto with potatoes for Danilo Braca who works assiduously in the clubs of the Big Apple, spinning only tracks by Italian composers and arrangers. Once again this Italian DJ-producer (Danyb is his old nickname), author of two very pregnant extensive versions: ''The Remix'' and ''Re-Visited'', shows his ability as a 'remixer', known everywhere, but especially in Ibiza especially where the DJs ((DJ Harvey included) often use his ''edits' existing only on pen drive. Among those who have madly loved ''Stop'' near Florence there are certainly Luca Pardini (Dirtyelements), Guido Sonato and Edoardo Guccione (Drunkdrivers) who when they are together form the renowned they Tuscan trio of DJ-producers Dirtyelements & Drunkdrivers with very interesting and successful experiences on Pusic Records, Masterworks Music, Samosa Records and Lego Funk. The approach to sounds in their ''Acid Re-Solution Remix'' is absolutely decisive. Here too, skill and passion seasoned with a pinch of art and... why not?... madness !!!

Das Debütalbum der ghanaischen Frafra-Gospel-Queen Florence Adooni (auch Mitglied bei Alogte Oho & Sounds of Joy) ist ein inspirierendes High Life-Werk mit grandiosen Tracks wie der Gospel-Hymne "Mam Pe'ela Su'ure" oder dem mit Jimi Tenor aufgenommenen Clubtune "Vocalize My Luv". Produziert wurde "A.O.E.I.U." von Ethno-Funk-Pionier und Philophon-Betreiber Max Weissenfeldt. Florence Adooni ist mit ihrer achtköpfigen Liveband regelmässig auf Tour, begeisterte bei Festivals wie Roskilde, Down The Rabbit Hole und Überjazz und absolvierte 2024 mehrere Termine mit Erobique.

A GROOVY SELECTION IN THREE ORIGINAL VINYLS TO DISCOVER THE GOLD NUGGETS OF FUNK, SOUL & HIP-HOP ! Selection by the journalist Olivier Cachin and illustrations by the artist LAZOO.

Recline Music founder Nicco (N.D) returns on the label this April, delivering his grooving single 'Lost Universe', accompanied by a remix from Javonntte. Florence native Nicco (N.D) is a long-standing player within the house music scene. Producing since the late 90s, he has previously performed as a singer and guitarist before joining forces alongside Ivano Coppola to launch their Recline Music imprint. He has worked with DJ T., Oxia, Clarian and many others, whilst releasing over one-hundred tracks and gaining support from Marco Carola, Joris Voorn and Steve Bug.

The remixer of this package is Detroit-based Javonntte. Since the early nineties, he has been producing music and has collaborated with legendary producers including Blake Baxter, Amp Fiddler and Andres in his formative years, whilst his solo releases have landed on Quintessentials, Traxx Underground and Kai Alce's NDATL.

'Lost Universe' is a glistening deep house track that effortlessly combines luscious chords with rising pads and blissful keys to transport listeners on a hypnotic journey. Javonntte's interpretation reveals a feel-good affair, as fathomless bassline sequences fuse with kinetic drum programming and dubby chords - wrapping up this enchanting offering in style.

BEN SIMS: Sweet remix from Javonntte!

DJ BONE: Funky! I love it

STACEY PULLEN: Solid Tracks

SHUR-I-KAN: Javonntte remix is nice and summery!

FRED P: Nice one..

KAI ALCE: Javonntte remix hard, deep & HOT!

PHIL DAIRMOUNT: Javontte remix for me

SPATIAL AWARENESS: Love the OG

TELFORT: Real nice ! :)

BILL BREWSTER: Original's nice.

CRAIG SMITH: Real nice Javonette remix

DIZ: Really Nice!!

FRED EVERYTHING: Very nice Javonntte Remix!

Peter Brown is one of the ultimate in Harlem underground music business entrepreneurs. From the 70's, all through the 80's he had a stream of releases on a plethora of labels, but ultimately under the
P&P banner. From soul, to disco to the birth of hip hop, he covered all the street sounds of New York and in a series of comps Demon are exploring his legacy. P&P soul and funk covers the 1970's with a number of rare, sought after masterpieces and some
equally essential obscurities.

From the former category we have the magnificent ESP by Four
Below Zero, Dennis Mobley's Rare Groove instrumental version of Superstition and Florence Miller's soul floor filler 'The Groove I'm In' Super rare funk is present from Wild Honey, Smokey Brooks and Flame & The Sons. The roots of disco is well represented with Magnetic Touch's original version of Ain't No Big Thing and Ella Hamilton's I'm Gonna Fool You.

Archie Hamilton’s Moscow Records invites Mennie for his first solo release of 2019, featuring two spacey cuts in the form of ‘Proxima’.

Joining Moscow Records following releases on Poker Flat, Infuse and Rawax, Mennie is a regular DJ at Florence’s Tenax Club when not performing across Europe including appearances in the UK, France, Germany and Spain. Alongside Julien Sandre, the Italian producer is also one half of Jarau and together they’ve released on labels like One Records, Visionquest and Pleasure Zone.

Kicking things off, ‘Proxima’ injects acid squelches into an atmospheric background which builds to include a wonky bassline laced with echoing distorted vocals. Flip over and ‘Do That’ utilizes a similar otherworldly aesthetic, with metallic effects, electronic bleeps and rattling drum patterns, all guided by a funk infused bass.

'Less thought, more direction and purpose, less catering, more expression...'

This was Savile's mantra as he sculpted his 'Compersion' EP for Mike Simonetti's 2MR and it's a mantra we should all subscribe to. It's come about through his introspective analysis during the creation of his most succinct and starkest exploration date.

''Compersion' is a record about wrestling my own beliefs, both personal and political. It's about experiencing the anxiety and absurdity of loving a partner and ultimately myself. The sounds, tempos and arrangements found here are the result of further experiments with editing tracks to their absolute minimum. I tried to work these songs like I am working on me. Less thought, more direction and purpose, less catering, more expression.'

And more detail; throughout every stripped back heavily-edited sensation the conceptual EP provides, the meaning and message is palpable. Each track title inspired by Jenny Holzer and Helmut Lang's revolutionary provocative, sexualisation of the art space in Florence Biennale, 1996, there's a tangible physicality felt throughout...

The heavy breathing rhythmic elements of the electroid 'Talk Smile Bite' and its bedrock bedspring funk; the playful switch between breezy broken beats and driving techno coupled with minimal sample craft and literal message of an instantly recognisable vocal on 'Watch Scan Wait'; the much heavier, intense techno pressure of 'Tease Breathe Smell' where the heart is on the sleeve and it's palpitating wildly with direction, purpose and true expression.

A smart concept from a Smart resident, Savile has achieved something special here; a provocative model a deep self-construction and, above all, three damn fine pieces of techno.

Running a record label offers adiversified and challenging field of activity. This is particularly true when speaking of tiny independent re-issue labels where one, two or three guys have to take care of everything. Tracking down musicians, collecting their stories, writing the liner notes, creating the cover artwork, mastering the songs, promoting the release, communicating with pressing plants and distributors, and so on. Most of the tasks mean fun with the exception of one thing which nobody here at Tramp is keen on doing: writing the sales notes.

Far be it from us to praise our release to the skies. Naturally, we are pretty much convinced of the sheer quality of each song, otherwise we would not have invested so much time and efforts into completing those compilation albums. One thing which surprises us is that despite thousands of Rare Groove compilations on the market neither of the songs to be found here has been compiled elsewhere yet. A fact that not only fills us with pride but also determines our claim for the future. As for now we have done our homework and it is time to let the music speak so that the Gunn High School Jazz Reunion, Keither Florence, Robert Cote, Plas Johnson, Charlie Chisholm Boss-tet, and all the others get the recognition they so richly deserve for their talent and work.

When Tramp opened its doors in the early 2000s it was just for the fun of it. A business plan did not exist and nobody involved with the label had studied anything music related. It was just a bunch of crazy record collectors and music lovers with a simple idea: to share their favourite music with the world. Nobody could have known that this would last for 15 years - and there is no end in sight.

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.